This document provides supplemental information to the Screen Australia Transmedia Production Bible. It includes key definitions for transmedia, multiplatform, and convergent storytelling. It also provides examples of scenarios, personas, user journeys, and wireframes to help producers design digital components of transmedia projects. The document emphasizes testing design assumptions through user-centered techniques and cautions against choosing platforms solely based on popularity rather than project fit.
Branded Entertainment is uniquely positioned to solve the challenges faced by content producers, digital marketers and users. Alexandra Levy, Director, Branded Entertainment – Google leads this provocative session that will have you thinking about the power of sponsored content and the future of developing and distributing content online.
Second screen strategy: Digital, social & mobile best practices for conferenc...Jack Morton Worldwide
Today, 90% of media consumption is screen based. In 2014, the number of mobile devices in the world will exceed the global population. By 2018, there will be 1.4 connected mobile devices per person. That means that, as people move through the world, they will increasingly move with at least one other screen in hand (and even more devices on hand).
While the Second Screen revolution may have started with distracted television viewers, today, the multi-screen world demands marketers who know how to plan for it. This presentation breaks down second screen strategy into actionable advice specifically for event marketers. Yet the trends in consumer behavior apply to all brands that seek to connect with the people who matter most to them in an increasingly screen-based world.
Branded Entertainment is uniquely positioned to solve the challenges faced by content producers, digital marketers and users. Alexandra Levy, Director, Branded Entertainment – Google leads this provocative session that will have you thinking about the power of sponsored content and the future of developing and distributing content online.
Second screen strategy: Digital, social & mobile best practices for conferenc...Jack Morton Worldwide
Today, 90% of media consumption is screen based. In 2014, the number of mobile devices in the world will exceed the global population. By 2018, there will be 1.4 connected mobile devices per person. That means that, as people move through the world, they will increasingly move with at least one other screen in hand (and even more devices on hand).
While the Second Screen revolution may have started with distracted television viewers, today, the multi-screen world demands marketers who know how to plan for it. This presentation breaks down second screen strategy into actionable advice specifically for event marketers. Yet the trends in consumer behavior apply to all brands that seek to connect with the people who matter most to them in an increasingly screen-based world.
New challenges in interactive media & video game localization projectsVictor Alonso Lion
How are globalization, technology and the rise of social networks and virtual communities affecting interactive media localization projects? Globalization and the increased access to new technology have opened new opportunities but also bring quite a few new challenges.
The game localization process cannot be considered at the end of the game production cycle anymore. Code and content internationalization has to be considered since the very beginning of the design process. Awareness of international requirements needs to be present at an early stage of the game creation.
Of course localization approaches vary depending on the specific needs and the global ambition of the developer. New online project management and collaboration tools, combined with an easier outsourcing, makes the creation of global teams possible for companies of all sizes. Many of the tasks that big developers could only perform in-house, now can be taken care by all types of external vendors. Cloud computing and virtualization is an important enabler of this trend.
The amount of content that needs to be localized has increased significantly. Developers and distributors need to consider alternative approaches for different types of content. Wikis, Forums and online Guides can now be managed by the players themselves. Those who consider Crowdsourcing as a cost saving approach are failing, while those who enable fan participation and use this approach to create a sense of community are creating solid networks of contributors and buyers.
An easier access to international markets also brings new challenges. A direct translation is not valid anymore to engage costumers. Players need to feel they are taken into consideration in the games they chose to play. Culturalization checks are now crucial, not because of legislation, but because a crowd of game players is scrutinizing every single detail. Localizers and developers have to work together in order to produce a set of products that will please the different markets. Localizers need to be proactive and propose changes, while developers need to code with a conscience that their game will need local adaptations.
The session will explore the mentioned topics and trends and will provide guidance on what works and what doesn’t. The reasons why a new global, community driven, and locally adapted mindset is necessary to succeed in such a competitive industry will be analyzed.
How are corporations integrating their BRANDS with engaging content. Why are they doing this now? Where are the advertising and marketing dollars headed? Why is story so important to engaging the consumer? What does IPTV mean for brand integrated content? What doe mobile platforms mean for brand integrated content?
Branded Entertainment - Love at every sitepsambrakos
In an age where consumers are more powerful than ever, and have almost unlimited choices of how to spend their time, brands should stop trying to interrupt them, and instead should try to produce content that is appealing enough for people to want to watch on their own. Even more, brands should strive to produce content that consumers would want to recommend to their friends, and content that will get them involved and talking about it through social media. Brands should aim to produce advertising that is loved by their audiences.
Ad crafting updated, the basics of transmedia planningIsabelle Quevilly
What if the days of “integrated” advertising were over? People have shown they can get together to share news and data about what they love.
Look at LOST and Lostpedia, World of Warcraft, AI… Movie and video game industries has worked for long in that direction to support their products over the years.
What if advertising could evolve to a non-linear narrative that your communities can empower on their own?
Devign Intervention: Explaining the Power of the Integratormicrosoftdesign
Rochelle Benavides leads the Experience Development team for the Microsoft Entertainment Experience Group. Her user-interface design contributions span the multiscreen product offering of the Entertainment and Devices division. She is also influencing next-generation user-interface development platforms and tools in support of cross-division design initiatives.
Doing The Deal in Branded Entertainment | Patrick Collings 2010Patrick Collings
This is one of two presentations I gave at the branded entertainment conference in Johannesburg on 24 March 2010. This particular presentation focuses on structuring branded entertainment deals, primarily the insertion of brands into film or television scripts. Many of the points are applicable to other forms of branded entertainment and branded content. I have gone with more text in this presentation than I normally do so it should be fairly easy to follow. A good deal of the content within the presentation is taken from Jean-Marc Lehu’s book Branded Entertainment which I believe is the best book on branded entertainment to date.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Designing for Mobile: UX for designers and developersKelley Howell
During 2010, I was tapped to create the first mobile web experience for five different sister organizations, part of a larger conglomerate. After doing so, I shared what I'd learned about UX research and UX design for mobile devices.
Social Marketing, Listening and EngagementDavid Carr
Implementing Social Marketing for business and communication, a remix of some previous ideas and some new approaches by David J Carr, Digital Strategy Director, Chemistry Communications
ABOUT THIS REPORT
PSFK challenged its readership of over 1MM creative professionals to come up with concepts that address issues put forth by The Climate Reality Project. Participants in the challenge were encouraged to leverage trends identified in PSFK’s Future Of Gaming report to create potential solutions.
PSFK received over 60 entries from around the world. This book contains a shortlist of those concepts, as chosen by The Climate Reality Project. By highlighting the strongest concepts, PSFK hopes to shine a light on ways that The Climate Reality Project and other likeminded businesses can solve some of the issues
they face.
Virtual Reality for Brands by Patrick-Milling Smith / Here Be Dragons & Rori DuBoff. A strategic in depth guide for brands executing VR: key best practices for developing in VR, along with distribution engagement strategies, and media industry applications, as well as up-to-date stats.
A l’occasion du festival Futur en Seine 2014, l’IRI, Institut de Recherche et d’Innovation du Centre Pompidou accueille le #TransmediaMIX, mix entre les modes Barcamp 2 et
Hackathon 3 dans le but de réaliser une preuve de concept transmédia 4 et de créer uneoeuvre collaborative collective avec comme thème générique :
“LES ACTEURS DU CHANGEMENT ET L’EDUCATION”
#CHANGEMAKERS & #EDUCATION
Le challenge se déroule in situ et en ligne, il est coopératif, expérimental, ludique et international et vise à co-créer une oeuvre tout en recontextualisant le terme transmédia
avec des valeurs propres telles que l’éthique, la coopération, le monde global, le progrès, avec l’aide de mentors et médiateurs présents sur site et en ligne....
New challenges in interactive media & video game localization projectsVictor Alonso Lion
How are globalization, technology and the rise of social networks and virtual communities affecting interactive media localization projects? Globalization and the increased access to new technology have opened new opportunities but also bring quite a few new challenges.
The game localization process cannot be considered at the end of the game production cycle anymore. Code and content internationalization has to be considered since the very beginning of the design process. Awareness of international requirements needs to be present at an early stage of the game creation.
Of course localization approaches vary depending on the specific needs and the global ambition of the developer. New online project management and collaboration tools, combined with an easier outsourcing, makes the creation of global teams possible for companies of all sizes. Many of the tasks that big developers could only perform in-house, now can be taken care by all types of external vendors. Cloud computing and virtualization is an important enabler of this trend.
The amount of content that needs to be localized has increased significantly. Developers and distributors need to consider alternative approaches for different types of content. Wikis, Forums and online Guides can now be managed by the players themselves. Those who consider Crowdsourcing as a cost saving approach are failing, while those who enable fan participation and use this approach to create a sense of community are creating solid networks of contributors and buyers.
An easier access to international markets also brings new challenges. A direct translation is not valid anymore to engage costumers. Players need to feel they are taken into consideration in the games they chose to play. Culturalization checks are now crucial, not because of legislation, but because a crowd of game players is scrutinizing every single detail. Localizers and developers have to work together in order to produce a set of products that will please the different markets. Localizers need to be proactive and propose changes, while developers need to code with a conscience that their game will need local adaptations.
The session will explore the mentioned topics and trends and will provide guidance on what works and what doesn’t. The reasons why a new global, community driven, and locally adapted mindset is necessary to succeed in such a competitive industry will be analyzed.
How are corporations integrating their BRANDS with engaging content. Why are they doing this now? Where are the advertising and marketing dollars headed? Why is story so important to engaging the consumer? What does IPTV mean for brand integrated content? What doe mobile platforms mean for brand integrated content?
Branded Entertainment - Love at every sitepsambrakos
In an age where consumers are more powerful than ever, and have almost unlimited choices of how to spend their time, brands should stop trying to interrupt them, and instead should try to produce content that is appealing enough for people to want to watch on their own. Even more, brands should strive to produce content that consumers would want to recommend to their friends, and content that will get them involved and talking about it through social media. Brands should aim to produce advertising that is loved by their audiences.
Ad crafting updated, the basics of transmedia planningIsabelle Quevilly
What if the days of “integrated” advertising were over? People have shown they can get together to share news and data about what they love.
Look at LOST and Lostpedia, World of Warcraft, AI… Movie and video game industries has worked for long in that direction to support their products over the years.
What if advertising could evolve to a non-linear narrative that your communities can empower on their own?
Devign Intervention: Explaining the Power of the Integratormicrosoftdesign
Rochelle Benavides leads the Experience Development team for the Microsoft Entertainment Experience Group. Her user-interface design contributions span the multiscreen product offering of the Entertainment and Devices division. She is also influencing next-generation user-interface development platforms and tools in support of cross-division design initiatives.
Doing The Deal in Branded Entertainment | Patrick Collings 2010Patrick Collings
This is one of two presentations I gave at the branded entertainment conference in Johannesburg on 24 March 2010. This particular presentation focuses on structuring branded entertainment deals, primarily the insertion of brands into film or television scripts. Many of the points are applicable to other forms of branded entertainment and branded content. I have gone with more text in this presentation than I normally do so it should be fairly easy to follow. A good deal of the content within the presentation is taken from Jean-Marc Lehu’s book Branded Entertainment which I believe is the best book on branded entertainment to date.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Designing for Mobile: UX for designers and developersKelley Howell
During 2010, I was tapped to create the first mobile web experience for five different sister organizations, part of a larger conglomerate. After doing so, I shared what I'd learned about UX research and UX design for mobile devices.
Social Marketing, Listening and EngagementDavid Carr
Implementing Social Marketing for business and communication, a remix of some previous ideas and some new approaches by David J Carr, Digital Strategy Director, Chemistry Communications
ABOUT THIS REPORT
PSFK challenged its readership of over 1MM creative professionals to come up with concepts that address issues put forth by The Climate Reality Project. Participants in the challenge were encouraged to leverage trends identified in PSFK’s Future Of Gaming report to create potential solutions.
PSFK received over 60 entries from around the world. This book contains a shortlist of those concepts, as chosen by The Climate Reality Project. By highlighting the strongest concepts, PSFK hopes to shine a light on ways that The Climate Reality Project and other likeminded businesses can solve some of the issues
they face.
Virtual Reality for Brands by Patrick-Milling Smith / Here Be Dragons & Rori DuBoff. A strategic in depth guide for brands executing VR: key best practices for developing in VR, along with distribution engagement strategies, and media industry applications, as well as up-to-date stats.
A l’occasion du festival Futur en Seine 2014, l’IRI, Institut de Recherche et d’Innovation du Centre Pompidou accueille le #TransmediaMIX, mix entre les modes Barcamp 2 et
Hackathon 3 dans le but de réaliser une preuve de concept transmédia 4 et de créer uneoeuvre collaborative collective avec comme thème générique :
“LES ACTEURS DU CHANGEMENT ET L’EDUCATION”
#CHANGEMAKERS & #EDUCATION
Le challenge se déroule in situ et en ligne, il est coopératif, expérimental, ludique et international et vise à co-créer une oeuvre tout en recontextualisant le terme transmédia
avec des valeurs propres telles que l’éthique, la coopération, le monde global, le progrès, avec l’aide de mentors et médiateurs présents sur site et en ligne....
Degrassi case study: multi platform, transmedia, convergent, social, mobile -...TMC Resource Kit
Produced by Epitome Pictures, this Canadian multi-generational drama has an audience that spans 30+ years. Case study created by Siobhan O'Flynn
As technology has evolved, so have the show’s strategies for reaching out to fans & for creating an immersive online experience.
10 Genius Tactics of The Lizzie Bennet Diaries DVD & More Kickstarter Crowdfu...TMC Resource Kit
A new case study on '10 Genius Tactics of The Lizzie Bennet Diaries DVD & More Kickstarter Crowdfunding Campaign.' Authored by Carrie Cutforth-Young, July 2013.
Story, Sci-Fi & Transmedia to develop Corporate Technology Strategies.Hubbub Media
This deck supported a Lab led by Ian Ginn in December in The Hague, investigating in-company narratives to communicate future technology options.
Discusses: Communication Challenges, In-company Storytelling, Why Transmedia.
The purpose of the book is to stimulate ideas and inspiration. It’s a small catalog of participatory transmedia storytelling experiences intended to remind, suggest, provoke and inspire creators.
A brief history of transmedia world buildingJeff Watson
Outlines history of transmedia "world-building" in a variety of contexts, from religion to contemporary art practice. Prepared for a student seminar at the University of Southern California's School of Cinematic Arts.
Transmedia Storytelling and Alternate Reality GamesJeff Watson
A primer for non-specialist audiences on the subject of Alternate Reality Games. Includes brief survey of prior art, diagrams illustrating the nature of networked fictions, and references to key scholars/innovators.
An extended narrated version of a presentation I gave at The Pixel Lab, UK, July 2010 - http://www.powertothepixel.com/events-and-training/pttp-events/pixel-lab.
"Transmedia & Advertising: What Advertisers, Marketers, Brands & Businesses Can Learn from Transmedia Storytelling" - presentation from "The Story To Sell", a conference on transmedia storytelling held in Amsterdam on 11 June 2009. Presentation by Ivan Askwith, Senior Content Strategist at Big Spaceship
Transmedia storytelling is the intentional integration of technology platforms and audience collaboration into a coordinated story. It creates an immersive participatory story experience which expands reach, increases persuasion and buy-in and builds an adaptable structure for a more sustainable campaign.
La sociedad esta inmersa en un cumulo de informaciones, decidir como evoluciona la tecnología y como nuestro ser se ve involucrado a pasos gigantescos y sin limite de tiempo.. es una decisión al cambio.
All request please fwd to wah17@yahoo.com.My linkedin is wah17@yahoo.com.A copy of the full research is here:
http://www.scribd.com/share/upload/4814477/2dx6gqho7w9gwvvrwbhq
Nos encontramos en medio de un movimiento sísmico donde la fragmentación de audiencias ha cambiado las reglas del juego. El inconformismo de los consumidores de ve reflejado en el estudio de Arena (Grupo Havas) donde el 75% de los consumidores consideran que las marcas no les aporta nada.
Hay un claro deseo de cambiar de marca constantemente. Las marcas deben alcanzar más valor en su comunicación y inversión en Marketing para ser competitivo y relevantes.
Vivimos en un mundo orgánico donde la conexión entre personas ha hecho que nuestro mundo sea más plano, pequeño. Por eso la comunicación se ha reestructurado para conseguir conexiones relevantes nutridas por el Data y el Contenido.
Bienvenido a este nuevo mundo y la visión de como enfocar el marketing desde una perspectiva orgánica.
Analysis to Engagement: Demystifying the Digital Communications LandscapeGina Luttrell, PhD
Powerpoint from the Syracuse University and W2O webinar. Join the W2O Group and the S.I. Newhouse School of Public Communications for a free webinar as we discuss today’s trends and insights surrounding social media in the digital age.
The pressure is on for social media managers to juggle multiple social media strategies and platforms simultaneously, advance tactics, and measure performance. So, how do you know if your initiatives are driving business goals? Join W2O principal Gary Grates and Dr. Gina Luttrell from the executive education program at the Newhouse School to learn the best methods to measure your organizations social media strategy.
Essay On The Internet [Short & Long Example]. Internet Essay- The Internet is the Greatest Invention of Mankind .... Write an Essay on Internet in English | Internet essay in english .... Essay on Impact of Internet on Youth | English essay | essay | English .... Importance of Internet essay in English// how Internet work. A for and against essay about the internet | LearnEnglish Teens .... The Internet - GCSE ICT - Marked by Teachers.com. Internet Brings More Harm Than Good Essay Example | StudyHippo.com. Write an essay on Internet | English | Handwriting. An essay about the importance of internet. Internet Essay | Essay on Internet Internet Essay for Students and .... Internet Essay || Internet Essay in English|| Internet Essay 10 Lines .... The Internet Essay in English - YouTube. Internet essay writing in english - YouTube. The good of internet essay introduction. Essay on Internet Addiction | Internet Addiction Essay for Students and .... Essay The Advantages and Disadvantages of Using The Internet | Internet .... (The Internet) Short Essay in Simple English. Essay on Internet in English. An essay about the Internet - ESL worksheet by Maruan Aziz. Analytical Essay: Advanced english essays. How To Write an Essay - How to Write an Essay English is a global .... Internet and Its Uses | Internet, Essay, Education. Research paper: Essay writing on internet. Internet Essay | Online And Offline | Virtual World. Essay on uses of internet to students - teachervision.web.fc2.com. Internet essay in English | Topics in English. Essay websites: Essay internet. Essay on importance of internet in modern life.
The Talking Village - People driven conversational marketing projectsFlavia Rubino
The Talking Village is a great opportunity for Advertising Agencies, Innovation Companies, Media, Research, and ultimately all brand strategists who are looking for ways to engage consumers in an honest and true conversation, and in authentic storytelling about their products. Founded in Italy by F.Rubino, former Global Marketing Director FMCG, with Partner G. Laurita, web strategist & researcher, both very active bloggers.
Benefits and Trends of Long Form Contentsocial473307
Long-form content is a type of content that is typically
longer than 1,000 words and provides in-depth
information on a particular topic. It can take the form of
articles, blog posts, whitepapers, and even videos.
Long-form content is becoming increasingly popular as
people seek out more comprehensive information on the
topics they are interested in. In an era where attention
spans are constantly challenged, long-form content
stands as a testament to the enduring human thirst for
knowledge and meaningful engagement.
TMC Hugues Sweeney CoPro Interview French VersionTMC Resource Kit
La première partie d’une entrevue avec HUGUES SWEENEY
producteur exécutif du Studio de production interactive du Programme français de l’ONF
La première partie d’une entrevue avec
HUGUES SWEENEY
producteur exécutif du Studio de production interactive du Programme français de l’ONF
An Interview with Hugues Sweeney, executive producer of interactive production with ONF/NFB Montreal, on successful strategies for international coproductions
AUTHENTIC IN ALL CAPS Case Study & Interview with Christy Dena TMC Resource Kit
AUTHENTIC IN ALL CAPS is an award-nominated web audio adventure for the iPad (with a Chrome App version coming soon!). You travel across the web with characters who face ridiculous obstacles to being themselves. It is inspired by audio drama, audio tours, and alternate reality games...and it's about identity, mortality, and pizza toppings...
This case study and interview gives you a behind the scenes look at the creation of this innovative narrative experience.
HOW TO START A CONTENT REVOLUTION: Design the FutureTMC Resource Kit
TMC Zed.TO Case Study 2013 Part 1.
Extended Case Study of The Mission Business' 2012 transmedia production of Zed.TO & the invention of ByoLogyc. Case study created by Siobhan O'Flynn
HOW TO START A CONTENT REVOLUTION: Design the Future & End the World!TMC Resource Kit
TMC Zed.TO Case Study 2013 Part 2.
Extended Case Study of The Mission Business' 2012 transmedia production of Zed.TO & the invention of ByoLogyc. Case study created by Siobhan O'Flynn
1. A Supplement for Transmedia,
Multiplatform & Convergence Properties
A companion to the Screen Australia Bible for Canadian & Australian Producers*
*Additions & expansions by Dr. Siobhan O’Flynn & Anthea Foyer
with grateful acknowledgement of the work done by Gary Hayes & Screen Australia
2. T
able of contents
1 about this document
2 Introduction
3 3 Key Definitions
4 Scenario
5 Personas
6 User Journey
7 Wireframes
8 examples
9 Additions to
Multiplatform Forms
3. 1
A bout this document
Since the online launch of ‘How to Write a Transmedia Production Bible: A Template
for multi-platform producers’ by Gary Hayes & Screen Australia in July 2011, media
production continues to be impacted by innovations in technologies, platforms &
social behaviour in the digital sphere. Our additions supplement Gary Hayes’ fantastic
contribution to a global community interested in transmedia and multiplatform
production and we write with the knowledge that cycles of innovation and new social
phenomena will likely demand new updates at regular intervals.
This document is intended as a companion to the Screen Australia Bible and it is
meant to supplement the comprehensive overview provided by Gary Hayes of the
specifications of the various components a Transmedia Production is likely to need.
Our goal in writing this expansion is to provide Canadian and Australian content
creators moving into the digital space with detailed examples of how to write and/or
design specific components such as a ‘User Journey,’ an Experience Map, or a
wireframe for mobile or a website, as these are often new territory for traditional media
producers.
4. 2
iNTRODUCTION
As many funding opportunities for film and television in Canada now encourage or
require a digital media component, understanding what, how and when to include
digital media components is crucial for Canadian and sometimes Australian
content producers. And as the terms ‘transmedia,’ ‘multiplatform’ and ‘convergent’
have been sometimes used interchangeably and sometimes to mark distinct
practices, the following definitions will clarify how these terms will be used
throughout the TMC Resource Kit.
5. 3
3 key definitions
Over the last decade ‘transmedia’ has changed as a term and practice in response
to a number of factors, ranging from the popular impact of major studio cross-
platform marketing campaigns to the uptake in social media, participatory
storytelling, user generated content, fan culture, crowdsourcing, & crowdfunding. As
such, ‘Transmedia’ continues to be an evolving term and practice, though there are
common core design priniciples , so we begin with a brief recap of key definitions
by some of the leading practioners and theorists in the field...
6. Transmedia
One Definition
Transmedia stories are those which ‘unfold across multiple media platforms with
each new text making a distinctive and valuable contribution the whole. - Henry
Jenkins, Convergence Culture 2006
A second definition
Transmedia storytelling, a concept identified by Henry Jenkins, is storytelling by a
number of decentralized authors who share assets and create content for
distribution across multiple forms of media. Transmedia immerses an audience in a
story’s universe through a number of dispersed entry points, providing a
comprehensive and coordinated experience of a complex story. - Lina Srivastava
2008
Another definition
Each part of the story is unique and plays to the strengths of each medium, and the
audience is often invited to participate and somehow interact with the narrative.
Simply put, transmedia is the art of conveying a rich message, theme or storyline to
a mass audience using multiple media platforms in concert. - Jeff Gomez 2009
Example: Nurse Jackie’s Dr. Cooper tweets during the episodes and those following ‘his’
account are given an inside window into the character’s in-the moment thoughts &
responses. Occasionally, Dr Cooper responds to tweets from the public.
7. * Words of wisdom from Henry Jenkins on
the flexibility of transmedia as a practice:
‘There is no transmedia formula. Transmedia refers to a set of choices
made about the best approach to tell a particular story to a particular
audience in a particular context depending on the particular resources
available to particular producers. The more we expand the definition,
the richer the range of options available to us can be.’
source here
8. Multiplatform
definition When used in contrast to transmedia, it commonly refers to the same content
being distributed through multiple channels (ie. a broadcast TV show on your mobile); OR
brand properties that use multiple channels for distributing content without extending the story
or story world across channels or distribution platforms. Example: A TV show with a webpage
with character bios, episode summaries, chat rooms, does not extend or contribute to the
story/story world.
Convergent
definition Specific definition within the Canadian context defined by the CMF
funding guidelines: projects designed to be “available across a minimum of two
distribution platforms, including television.” The digital component can be a VOD
platform or “additional, value-added digital content on non-TV platforms” Projects
may have multiple ‘rich and substantial’ digital media components (website, app,
game, etc)
Henry Jenkins on Convergence: ‘convergence...in Convergence Culture, I describe
as a paradigm for thinking about the current moment of media change, one which
is defined through the layering, diversification, and interconnectivity of media.’
source here
9. S cenarios
User Scenario,User Experience
4
A scenario has a very specific use in interactive & user-centric design, which is to understand
how individuals will encounter, engage and interact with your property in concretely imagined,
visualized and detailed scenarios. The purpose of a scenario is to test the the producer’s
assumptions as to how a transmedia or multiplatform or convergent experience will play out
by imagining it from user’s perspective.
This is important because when designing distributed content, particularly with tent-pole
properties or native transmedia properties, there might be multiple points of entry ie. the initial
contact or encounter whereby you first hear or see or engage with a project. This might be a
poster, a commercial, a YouTube video, a Tweet, a flash-mob, the possibilities are endless.
Key questions to be asked are:
! How will your fans know your project exists? And if a tent-pole project, how will they
know that other content elements exists?
! How will they find it?
! How will you motivate your fans to interact with distributed content and/or share
content?
! Will you create direct or indirect prompts or calls to action?
! What value will fans gain from engaging with distributed content?
The most effective way to test this is either to do user-testing, which is often not possible at
an early phase of development, or to create a scenario. Note, user scenarios are written in the
present tense in order to be able to best visualize what the experience is. The sample
scenarios below are very detailed User Experience Scenarios in order to provide an example
of the kinds of details to think through.
useful resource here
10. Sample Scenario #1
Sana, a 23 year old Canadian, is studying goldsmithing at George Brown College & working
part time in a west-end Toronto restaurant. Walking home from work, she sees a new
poster campaign with a single image and url. The image and the url
‘doyouhaveanexitplan.com are intriguing as she’s a big fan of scifi and on a whim she
searches the url on her smart phone. A webpage loads with a counter marking down 17
days, 6 hours etc, & a text calling for recruits for a colonizing trip to Mars, in the event that
the message picked up from Arkab Posterior does indeed signal an alien invasion.
Underneath the recruitment call is a ‘register’ tab which she clicks. She inputs the
requested information: name, age, sex, allergies, email, phone number, musical taste, party
entertainment skill/talent, and relationship preferences (monogamy to polyamory) and
number of envisioned children. Once submitted, a further page opens with the invitation to
play a skills testing game. She realizes she can’t play this effectively on her smart phone as
she walks, so she closes the page & continues home.
Once home, she opens the site on her computer & looks for a sign in tab and she doesn’t
see one. Frustrated, she decides to do other things & opens her email. There she finds a
welcome email from the website’s recruitment & she clicks on the confirm registration link
and is taken back to the game. She plays through a couple of the skills tests & then has to
break off....
11. Sample Scenario #2
Kwungwon, a 34 year old computer programmer with a passion for political activism,
cycling, and Tarantino films, decides to watch the Season Premiere of a new broadcast TV
series, Sleuths! while chatting online with friends via multiple social platforms: a number of
running chats on Facebook, texts exchanged via phone.
During the show, a suspicious character drops a paper & the camera zooms in to the ripped
corner of an envelope with a company logo & acronym, the camera holds for a split second
then the paper fragment is blown off screen down an alley. Because he can, Kwungwon
rewinds, pauses on the logo & then googles the acronym to see what will list. A number of
links, including a company website and a twitter account come up & Kwungwon clicks on
the Twitter link.
When the Twitter page opens he sees that one of the main characters is running a live
Twitter account in-tandem with the show account & is seeking info on an employee of the
company & has created a hashtag for the company. Clicking on the hashtag, Kwongwon
discovers that other fans also watching in real time are exchanging details and links as they
discover online content related to the named company. Intrigued by the conspiracy
elements Kwongwon joins in and proposes someone create a wiki to track the links and info
as it is discovered.
12. 5
P ERSONAS
Another key element useful in developing User Experience Scenarios is the process of
‘Building Personas’ in order to be able to ‘test-run’ User Centred Design. The distinction
here is that you create imagined profiles of specific individuals rather than
demographics. Usually, a number of personas are developed (3-5) in order to run
imagined User Experience Scenarios. This process often leads to unexpected or
overlooked factors and discoveries that can help refine the overall design process. For
example, designing a digital component with QR codes on subway posters might seem
like an exciting marketing & promotional opportunity to connect with a potential
audience until one realized that QR codes are not not accessible underground because
wifi signals are usually unavailable.
See UX Magazine’s article, ‘Personas: The Foundation of a Great User Experience’
See KissMetrics ‘How User Personas can Improve your SEO Strategy’
13. 6
u ser journey
Most importantly, there is no one-size-fits-all user journey that will work for
every transmedia, multiplatform & convergent project.
In fact, there can be multiple user journeys for each project as audience
members will be able to encounter these projects in a variety of ways. In
addition to the user journey from the Transmedia Bible we have added in more
examples in order to get a feel for how to create user journeys for your own
projects.
16. 7
w ireframes
Wireframes are mock-ups of the layout design for websites, mobile interfaces and
other interactive digital platforms. Usually these begin as paper/pencil sketches that
help to visualize what the interface design will be on the various ‘pages,’ home or
landing page to all other subsidiary pages.
As the design process evolves, wireframes become more polished and demo
everything from font to colour choices
18. a dditional multiplatform forms
Apps - non-game apps that expand, supplement or interact with a given project, could be
9
related to historical content, archives, communities, etc anything outside of games
that interconnect with a property’s content or focus - see Choco-locate app
machinima: machinima is a cinematic art form that uses existing game engines to create
animated movies. The form began in .. when a company called Rooster Teeth
graphic novels/comics: as noted by many, graphic novels and comics are a great low-cost
medium that can be used to deliver storylines and world-building that would be cost-
prohibitive in live-action or animation. And they can exist on the web or in hard-copy.
Numerous online self-publishing sites such as Lulu.com can be used as publishing
platforms without having to invest in print runs.
participatory websites/platforms: sites and/or platforms used to host invited and sometimes
curate UGC - see - Wattpad as a great participatory story sharing platform
Content Sharing Pinterest, Flickr, Wattpad, & many others are highly populated platforms for
content sharing
theatre & live performance: in an era of global and immediate access to digital content, there is
real value in scarcity and location-specific performances. Live events & theatrical
performances are exclusive experiences that can create excitement and immersion in
a given project, which attendees might then share with their communities via social
media via the ‘world of mouth’. Think of this as analogue promotion in a crowded
digital space. ARGs often incorporate live performances that are are scripted to a
degree though designed to be open to audience participation. See Zed.TO coming
soon
* please see Section 2. Functional Specification in Gary Hayes Transmedia Bible for complete list
19. *
Note of Caution on Choosing Your Platform(s)...
‘Beware the Shiny Thing’
Just because casual games can generate massive downloads and
audiences doesn’t mean that your project has to have a casual game, be
that on Facebook or mobile (iPhone, iPad, Android etc). Decide on and
build from what is appropriate for your project. Think about what
experience(s) outside of the tent-pole property can add real value and
engage an audience’s or fan’s interest building on what is integral to
your project. Just because Pinterest has now surpassed Google+ in
terms of users doesn’t necessarily mean that your project should have a
Pinterest board.
20. Get in Touch
contactus
TMC Resource Kit
info@tmcresourcekit.com
tmcresourcekit.com
TMC Bible Supplement was prepared by:
anthea foyer & Dr. Siobhan O’Flynn
antheafoyer.com @antheafoyer
siobhanoflynn.com @Sioflynn
22. TMC Bible Supplement is released under a NonCommercial
ShareAlike Creative Commons license to be shared,
remixed and expanded non-‐commercially, as long as you
credit the TMC Resource Kit, the creator of the TMC Bible
Supplement, Anthea Foyer & Dr. Siobhan O’Flynn, and
license your new creations under the identical terms.