Module - Narratives. Media Formats and Consumer Experience

NARRATIVES: MEDIA
FORMATS AND CONSUMER
EXPERIENCE
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3
Table of Contents
1 CREATIVITY AND IDEA GENERATION PROCESS
2 CREATIVITY AT PIXAR
3 AUDIENCE SEGMENTATION
4 AUDIENCE AS INDIVIDUALS
5 RESEARCH: WHO‘S WATCHING
6 STORYTELLING: CONNECTING WITH AUDIENCES
7 GENRE AND STORY
8 ENTERTAINMENT DIGITAL MARKETING
9 ENTERTAINMENT BRANDS
10 FILM AND TV CONSUMPTION
11 MEDIA CONVERGENCE
12 HOW DIGITAL TECHNOLOGIES TRANSFORMED CINEMA: PRE-PRODUCTION, PRODUCTION, POST-PRODUCTION,
DISTRIBUTION AND EXHIBITION
13 CONSUMPTION EXPERIENCES

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CREATIVITY AND IDEA GENERATION PROCESS

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Idea
From idea generation to product concept
• Research and/or rights
acquisition
• Script
• Cast (producer, director,
stars)
• Financing
• The marketing concept
• Production, post
production
• International sales,
licensing (national,
international)
• Distribution platforms
(theatrical, broadcast TV,
pay TV, streaming,
tablet/smartphone
Script Target
audience/s
Genre Segmentation

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Models of creativity
The classical early model of creativity (Wallas)
Four distinct phases
• Preparation: gathering knowledge and understanding the
problem
• Incubation: the subconscious takes over, mulling over the
problem without deliberate concentration
• Illumination: a sudden flash of light, when the solution has
been discovered
• Verification: valuation of the newly formed idea
The synthetic model:
The generic Creative Process
Model (Warr and O’Neill)
• Idea Generation
• Problem Preparation
• Idea Evaluation
Another model: The five stages model (Amabile)
• Problem and Task Presentation
• Preparation
• Response
• Generation
• Response Validation
• Outcome
Problem
preparation
Idea
generation
Idea
evaluation
Generic Creative Process Model
Adapted from Warr and O’Neill

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Three idea generation processes
Hybrid idea generation process
Individually produced ideas for a fraction of
time and colectively after that.
• Produces three times as many ideas than a
group process (brain storming)
• Is better at identifying the best ideas from
the set of ideas previously generated, but
just as the group process it is weak at
discerning the quality of ideas
• Idea generation in groups lead to ideas that
develop on each other and does not
improve the quality of ideas but worsens
them
1 Individual idea generation process
2 Team (or group or brain storm) idea
3 Hybrid idea generation processes
Source: Insead

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Brainstorming is one of the most used idea generation processes
Brainstorming
Source: Insead
However, studies suggest that brainstorming
leads to:
Production blocking: inability to articulate ideas
when others in the team are speaking, impedes
the number of ideas generated
Evaluation aprehension: leading to censoring of
potentially good ideas
Free riding: collective performance measures
impeding individual incentives to perform
IdE@ IDEAI
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E
A
I D E A
Idea
idea

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Overcoming difficulties in the creative process
Difficulties
The most difficult part of the process individuals are
likely to experience is during idea generation
In part due to the fact that it is difficult for individuals
to suspend judgment when formulating ideas
Individuals tend to focus more on the quality of the
idea and the practicality, as opposed to focusing on
generating as many ideas as possible
The creative process is also inhibited by people's
inability to entertain ideas that violate previously
held assumptions, rules, and conventions
How to overcome the difficulties
Individuals must be able to break associations
and patterns of thoughts in order to create
new relationships that didn’t previously exist
Additionally, the idea generation process is
heavily influenced by intrinsic motivation
This implies that the creative professional
must be given both the tools and the
incentives to produce creative works

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Thinking on the edge of the box
Source: Nuno Cintra Torres

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Idea generation techniques
1. Role Playing: acting out scenarios..
2. Active Search: Hunting for a particular solution.
3. Attribute List: Taking an existing product or system,
breaking it into parts and then recombining these to
identify new forms of the product or system.
4. Brainstorm: Generating a large number of solutions
to a problem (idea) with a focus on the quantity of ideas.
5. Collaborate: Two or more people working together
towards a common goal.
6. Concrete Stimuli: To gain new perspectives on a
problem by manipulating physical materials.
7. Critique: Receiving input on current ideas.
8. Documenting: Writing down ideas (physically or
electronically). This includes journaling, writing stories,
and taking notes.
9. Expert Opinion: To elicit opinions from experts to
identify potential problems with products or services
before more comprehensive evaluations.
10. Empathy/User Research: To observe people in everyday
situations in order to develop empathy for them. Ethnographic
research.
11. Encompass: Creators immerse themselves in information
relevant to the current project.
12. Forced Analogy: Comparing the current problem with
something else that has little or nothing in common in order to
gain new insights and results.
13. Incubate: Stepping back from the problem to let the
subconscious mind work.
14. Passive Searching: Looking through material (web,
magazines, books) for inspiration without searching for a
particular solution to a problem.
15. Prototyping: Creating a model of an idea.
16. Reflect: To review previous work.
17. Sketching: Sketching refers to a rough drawing of an idea.
18. Socializing: Socializing refers to talking with others about
topics unrelated to the current project.
19. Storyboards: To represent information gained in the
research phase of the process.

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Tools to enhance the creative process
 The use of technology that emphasizes free
association, that helps the user understand
previous work and orients the user to visual
techniques.
 Standard software packages that allow for
the organization and structuring of existing
ideas and benefit from repositories of
previous work.
 Advanced communication mechanisms,
allowing creatives to share ideas and
design documents freely.

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Creativity at Pixar
People working together developing “the high concept”
People tend to think of creativity as a mysterious solo act,
and they typically reduce products to a single idea:
This is a movie about toys, or dinosaurs, or love, they’ll say.
However, in filmmaking and many other kinds of complex
product development, creativity involves a large number of
people from different disciplines working effectively together
to solve a great many problems.
The initial idea for the movie—what people in the movie
business call “the high concept”—is merely one step in a
long, arduous process that takes four to five years.
Source: Catmull, E. (2008) How Pixar Fosters Collective Creativity, Harvard Business Review
High concept of “Up”: Fly away

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Creativity at Pixar
Creativity at Pixar: Leading the creative process
A movie contains tens of thousands of ideas. In the form of every sentence; in the
performance of each line; in the design of characters, sets, and backgrounds; in
the locations of the camera; in the colors, the lighting, the pacing.
The director and the other creative leaders of a production do not come up with
all the ideas on their own; rather, every single member of the 200- to 250-person
production group makes suggestions.
Creativity must be present at every level of every artistic and technical part of the
organization. The leaders sort through a mass of ideas to find the ones that fit into
a coherent whole—that support the story—which is a very difficult task.
It’s like an archaeological dig where you don’t know what you’re looking for or
whether you will even find anything.

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Creativity at Pixar
Technology + Art = Magic
Getting people in different disciplines to treat one another as peers
is just as important as getting people within disciplines to do so.
Barriers include the natural class structures that arise in
organizations: There always seems to be one function that
considers itself and is perceived by others to be the one the
organization values the most.
Then there’s the different languages spoken by different disciplines
and even the physical distance between offices.
In a creative business like [film], these barriers are impediments to
producing great work, and therefore we must do everything we can
to tear them down.

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Creativity at Pixar
«If you give a good idea to a mediocre
team, they’ll screw it up.
But if you give a mediocre
idea to a great team, they’ll
make it work.»

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Why is audience segmentation important?
Market segmentation analysis and the selection
of the particular audience segments you will
target are essential parts of the film project
development.
When you analyze your potential audience to
identify key segments, you consciously select
groups of people you will try to attract to your
film.
Your marketing goal is no longer just filling seats
or getting people to walk in the door, but
attracting the right people with the right message
through the right media at the right time with the
right product at the right price.
The right product
The crucial question is Who?
Who is target audience?
Who am I trying to reach with my
film?
Who will be attracted to the plot?
Who is willing to pay to see my film?
The right message
Market segmentation is also an
indispensable element of the film’s
marketing concept and plan.

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Segmentation starts right at the beginning of the creative
process with the development of the creative idea
The purpose of audience segmentation analysis is to identify
those in the over-all population who will be most likely to
appreciate and value the film so that you can develop a film for
that specific audience segment and later to target he work directly
to the segment you have chosen to target with your film.
The goal of segmentation is to find audience members that you
will target with your product, those who will be most satisfied by
the artistic product you have to offer.
In order to find those individuals you have to research or to
commission research to a specialized agency.
Segmentation starts at the beginning

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When you look for segments of your overall
audience, or your potential audience, you are
searching for groups of people who are similar
in some way to each other, and different from
everybody else.
For a segment to be meaningful for your
product and for the marketing strategy, the
ways the individuals are similar should relate
to your artistic product.
Segments: people with similarities with each other
Examples of audience segments
Age related: people of the same age group
Cultural preferences: people with similar
cultural taste

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Group interests
The goal in market segmentation is to appeal to each
group’s particular needs and interests
Much the same way you would if you were meeting and
talking to one person at a time.
Market segmentation lets you see and know your audience
members as individuals, so you can identify their needs and
more effectively communicate the ways they can benefit from
what you have to offer.
Armed with this knowledge, you’ll find it easier to develop
creative strategies and marketing strategies that reach and
motivate your target, making the most of your always too-
scarce promotional resources.

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Usage/Behavior
Frequent/Infrequent
Subscriber/single ticket
Plan-ahead/impulse
Stated Intentions
Plan to come more,
less, the same
Will/will not renew
Attitude/Belief/Opinion
Likes/Dislikes
Preferences
Values
Checklist of identifying characteristics
Demographics
Age
Gender
Race/ethnicity
Income
Education
Family Status
Geography
Residence location
Work location
Place of origin
Choice of recreation
area
Identifying Characteristics
Divides the total universe of people you could
potentially attract into segments with more or
less potential for success

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Sophisticated data-driven means of subdividing the
market
Subdivide into distinct, non-overlapping groups that
share similar characteristics
Segmentations are used to inform market strategy and design uniquely
appealing products and services that best address the real needs of
specific consumer groups, and extract maximum value from both high-
and low-profit customers.
• Divide the market into meaningful, measurable segments according
to customer needs, past behaviors, and demographic profiles
• Tailor resource assignments to specific product, service, marketing,
and distribution efforts to best suit the needs of specific segments
• Measure strategic and tactical performance among individual
segments, and adjusting these elements as segmentations evolve
over time and as market conditions change

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To get beyond demographics, you need to think about
what makes one person different from another.
For the most part, the demographic facts are not
what really distinguish us.
What makes each of us an individual is what goes
on below the surface in our hearts and in our
minds.
That’s where you’ll find the most powerful information
about your present audience and the groups you can
target to develop new audiences.
For real insight reach inside to identify needs

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Mining for underlying needs
To begin your journey below the demographic surface, think
about other “facts” you know or can find out about your
audience or your prospects
What are their behaviour patterns relative to cinema going
overall?
Are they frequent movie watchers, or people who are not
interested in film in general?
What genre do they prefer? Action? Comedy? Sci-Fi? Family?
Animation?
What are their favourite actors? Directors?
What is the last movie they saw?
Do you have a core audience that never misses your films?
Does your audience also watch films on TV, PC, laptop, tablet,
smartphone?
Maslow formulated a model to illustrate a
hierarchy of needs, whereby higher order
aspirations cannot be attained unless the
individual's underlying basic needs are intact. So,
for example, children will need to have had their
care needs met, feel safe, settled, valued and feel
that they belong to the class before they are able
to engage in social communication or learning.

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Enriching Characteristics The kinds of characteristics or traits that
help visualize the individuals in your target audience
• Once you have identified a target segment, your next task is to find
ways to separate people who fit into that segment from people who
do not.
• If you are in the pay TV business and your primary target for special
subscription renewal efforts is first-year subscribers, your own
database will provide the information you need to identify those who
fit within your target audience definition.
• If you are in the social media business the huge amounts of data
(“big data”) generated by usage will help you identify trends and
even individual user preferences
• In many instances, social media and apps usage allows the
operators of those services to identify target prospects on an
individual name basis and to target specific advertising messages to
those individuals.
Richly detailed prospects help with targeting
Also:
Email / texts
Verbal conversations
Physical movement of data
Credit card records
Motorway tolls
Etc

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Sources of population, cultural, recreational data,
market and audience data
• General Population
Statistics
• Census
• New Research
• Internal databases and
other records
• Current audience surveys
• Surveys of the general
public
• Informal one-on-one
interviews
• Focus group interviews
• Observation
• Etc, etc
Enriching characteristics include
whatever you can find out about people
in a particular audience segment.
These can include their interests, their
behavior related to your organization or
to arts participation overall, their
personal values, psychological
characteristics, or stage of life.
You can gather this information from
formal audience surveys, from
discussions in focus groups, or from
systematically asking a few key
questions when you have an opportunity
to meet and talk with prospects.

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Sources of population, cultural, recreational data,
market and audience data
Facebook, Twitter and the iPhone have rapidly changed the way consumers communicate, making
word-of-mouth a key factor in determining weekend box-office sales and diminishing the value of
traditional research techniques.
«The audience is a moving target»
Dick Cook
Former Walt Disney Studios chairman

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Surveys: Quantitatiive, Qualitative, Observational
How many? A quantitative survey may be less
appropriate than a qualitative exploration of the
audience.
How do they feel? A formal qualitative survey
uses a questionnaire that asks structured
questions on issues. Includes checklists of
Identifying Characteristics and Enriching
Characteristics.
Classical Methods
Focus Groups
Individual in Depth Interviews
Photo/Video Etnography
Be attentive to conversations
Buzz
Hearsay
Hype
Word of Mouth
Observational Research
Observational research or talk informally with
members of your audience, either on a one-on-
one basis or in small groups. Informal interviews
with audience members.
.
Leading Edge Methods
Online Focus Groups
Online Forums
Online Communities

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Market research: the power of the right mix
RESEARCH OBJECTIVE: To find the right mix of
pedigree, quality, entertainment value, emotion, etc.
that casts the widest net of appeal for each movie.
Some finds
Baby boomers are still going to the movies, shifting
what for decades has been a youth-dominated
business. Before, company didn't sample moviegoers
older than 49. Now, up to those in their mid-60s.
Steven Spielberg was concerned that the 2011 period
film, "War Horse" might not have universal appeal.
The studio enlisted market research to target a
specific audience: a sophisticated, older, white
moviegoer who lived in the middle of the country,
enjoyed Broadway plays and shopped at Target, not
Sears.
Capstone screens movies before they hit
theaters and sometimes they are fine-tune
edited based on moviegoer input.
Works with studio executives and filmmakers
to evaluate the interest generating potential of
movie previews before they are seen in movie
theaters and does the same for television
commercials before they are seen on national
TV.
To move the needle and to make a difference
in how a movie performs at the box office.

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Research: anticipate human behaviour
Capsotone clients include Warner Bros., Sony
Pictures, DreamWorks Studios and Relativity
Media
Research-driven approach to marketing started in
1978 Capstone’s introduced the revolutionary
concepts of market testing to Hollywood, originating
what continues to be the cornerstone of today’s
movie and television marketing.
They are marketing strategists who understand and
can anticipate human behavior, consumer savvy
and client centric.
Capstone is expert at reaching consumers at the
moments, or touch points, that influence their
purchasing behavior, to understand how
consumers interact with products and services during
the purchase decision.

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Combine facts and insights into meaningful analysis
To create a meaningful picture of the target
audience
Consider how the individual findings fit
together into an overall pattern—a larger
picture that is both consistent and meaningful.
Project a New Reality
To attract a new audience segment, you may
have to make changes in your programs, your
marketing, or your support efforts.
Use your research to anticipate what might
happen if you make these changes.
Janne Parviainen, Late Night Show

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The movie marketing and distribution plan
1. Genre
2. Film length
3. Target audience (age group/s)
4. Positioning (to reach the target audience, genre, main messages)
5. Communication channels (advertsing, social media, etc) e the media plan
6. Distribution channels (distributors, quantity and type of screens, relationship with distributors)
7. Marketing ideas and materials (trailer, posters, pormotions, première, website, distribuition, etc)

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STORYTELLING: CONNECTING WITH AUDIENCES

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Understand culture to connect with audiences
Culture is a learned set of assumptions that
shape our perceptions of the world, and of
appropriate values, norms, attitudes, and
behaviours
We learn our culture. Perceptions about
gender, age, and social class are culturally
based, as are our ideas about
• race
• ethnicity
• religious practices
• sexual orientation
• physical appearance and ability, and
• regional and national characteristics
interactions.acm.org

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To create and develop local connections
To connect with the audiences, to win hearts and
minds and to build loyal relationships that transcend
cultural or language differences.
To recognise local needs and demonstrate an
understanding of specific markets’ taste, values and
culture, language has to resonate with the specific
market.
To aligns with their values and connects to their
stories, experiences and aspirations.
Stories must anticipate local needs and bond with their cultural archetypes and mythologies and be in
position to align language and concepts with the understanding of the market rather than expect them
assimilate a singular western ideal.

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Stories are a core human trait. But there are few storylines.
So maintaining audiences requires to relenlessly improve the ability to realy the same tale.
The allure of power, a centuries-
old story, House of Cards, produced
by Media Rights capital, Netflix
original channel, based in
Washington: based on Michael
Dobbs book, set in London,
adpated by the BBC,
Shakespearean themes, particularly
the characters of Lady Macbeth and
Richard III, the technique of “the
breaking of the fourth wall”, actors
speaking to the audience, exemple
how the same theme can be made
compelling.
Rags-to-riches, immoratlised by
Cinderella, reality shows convey
the same theme: Susan Boyle
winner of 2009 Britain’s Got Talent:
47, single, unemployed; Liu Wei,
first prize playing pian in China’s
Got Talent, had no arms used his
toes; Sung-Bong Choi, winner of
2011’s Korea’s Got Talent was
abandoned by parents when three,
ran away from orphanage at five,
lived in a container for tem years,
was once buried alive.
Wealth, a constant in TV
stories: Dallas in the 70’s,
Keep up with the
Kardashians which has
aired nine series
The TV advert, the
mainstay of TV, generates
$200 billion global per
year, some of the most
compelling content on
television, the best ones
are unlikely to be fast
forwarded

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Genre and story: the two top criteria for choosing a film in
Europe
Genre and story: enable audiences to weigh up
the film’s premise and potential benefits (relaxation,
emotion, entertainment, etc.).
• 92% of film viewers think film genre is
important for their choice.
• 88% think story is important. This is also
very consistent across countries. There
are slightly fewer film viewers to consider
it 'very important' than for 'genre' (48%
vs. 53%).
• 72% think actors and cast are important
(only 25% think this is 'very important').
• 52% think a prequel/sequel is important
(only 13% think this is 'very important').
Source:A profile of current and future audiovisual audience, European Commission, 2014

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Top-Grossing Story Sources and Production Methods
Top-Grossing Sources 1995 to 2015
Movies Total Gross Average Gross Market Share
1 Original Screenplay 5,752 $84,479,713,729 $14,687,016 45.95%
2 Based on Fiction Book/Short Story 1,608 $40,068,457,921 $24,918,195 21.79%
3 Based on Comic/Graphic Novel 154 $13,185,032,841 $85,617,096 7.17%
4 Remake 276 $10,230,933,730 $37,068,600 5.56%
5 Based on TV 197 $9,930,220,389 $50,407,210 5.40%
6 Based on Real Life Events 2,132 $9,226,507,902 $4,327,630 5.02%
7 Based on Factual Book/Article 125 $4,433,263,097 $35,466,105 2.41%
8 Based on Folk Tale/Legend/Fairytale 55 $2,414,345,379 $43,897,189 1.31%
9 Spin-Off 27 $1,962,254,583 $72,676,096 1.07%
10 Based on Play 214 $1,891,986,396 $8,841,058 1.03%
Top-Grossing Production Methods 1995 to 2015
1 Live Action 10,492 $148,117,633,974$14,117,197 80.56%
2 Animation/Live Action 135 $16,097,838,466 $119,243,248 8.76%
3 Digital Animation 203 $15,902,436,074 $78,337,124 8.65%
4 Hand Animation 132 $2,905,306,899 $22,009,901 1.58%
5 Stop-Motion Animation 30 $563,984,536 $18,799,485 0.31%
6 Multiple Production Methods 17 $21,597,179 $1,270,422 0.01%
7 Rotoscoping 3 $8,393,627 $2,797,876 0.00%
http://www.the-numbers.com/market/sources

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Top-grossing Distributors and Movie Genres
Top-Grossing Distributors 1995to 2015
1 Warner Bros. 621 $27,761,127,082 $44,703,908 15.10%
2 Walt Disney 510 $26,371,511,135 $51,708,845 14.34%
3 Sony Pictures 603 $23,395,568,140 $38,798,620 12.72%
4 Paramount Pictures 407 $21,207,592,063 $52,107,106 11.53%
5 20th Century Fox 436 $20,897,940,691 $47,931,057 11.37%
6 Universal 400 $20,833,712,934 $52,084,282 11.33%
7 Lionsgate 303 $6,361,693,057 $20,995,687 3.46%
8 New Line 206 $6,187,505,981 $30,036,437 3.37%
9 Dreamworks SKG 75 $4,083,551,613 $54,447,355 2.22%
10 Miramax 376 $3,829,456,960 $10,184,726 2.08%
Top-Grossing Genres 1995to 2015
1 Comedy 2,149 $40,738,293,630 $18,956,861 22.16%
2 Adventure 641 $39,835,889,227 $62,146,473 21.67%
3 Action 732 $32,957,399,261 $45,023,769 17.93%
4 Drama 3,969 $30,921,323,307 $7,790,709 16.82%
5 Thriller/Suspense 784 $15,451,583,759 $19,708,653 8.40%
6 Romantic Comedy 497 $9,233,744,931 $18,578,964 5.02%
7 Horror 435 $8,213,804,276 $18,882,309 4.47%
8 Documentary 1,602 $2,045,711,662 $1,276,974 1.11%
9 Musical 130 $1,901,046,400 $14,623,434 1.03%
10 Black Comedy 138 $1,168,828,509 $8,469,772 0.64%
http://www.the-numbers.com/market/sources

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ENTERTAINMENT DIGITAL MARKETING

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Creating outstanding products and awareness they exist
Entertainment brands have to compete in an increasingly
crowded marketplace, the slices of the pie are getting smaller
as more products compete for audiences.
Hit broadcast-network TV shows have a fraction of the
audience that they needed to stay on the air 20 years ago. But
consumers still want something that looks as good as
ever.
Once film or television products are created they must be
brought to viewers’ attention in a sea of digital irrelevance.
Producers must develop digital strategies and take advantage
of new cost savings opportunities and hope to find ways to
make money.
2 problems
Creating outstanding products
Creating awareness that they
exist.
Productions that succeed in
grabbing a small slice of the
audiences’ attention and loyalty
remain a mysterious exercise.

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What is Digital Marketing
Digital Marketing is the use of digital channels to
promote or market products and services to consumers
and businesses.
It is embodied by an extensive selection of service, product
and brand marketing tactics, which mainly use the Internet
as a core promotional medium, in addition to mobile and
traditional TV and radio.
Digital marketing is targeted, measurable, and interactive
marketing of products or services using digital technologies
to reach and convert leads into customers and retain them.
Key objective: to promote brands, build preference and
increase sales through various digital marketing techniques.
Source: Digital Marketing Institute:

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Digital marketing techniques
Search Engine Optimization
(SEO)
Search Engine Marketing
(SEM)
Content marketing
Influencer marketing
Content automation
Campaign marketing
e-Commerce marketing
Social media marketing
Any other form of digital
media
Extends to non-
Internet channels that
provide digital media
Mobile phones
(SMS and MMS)
Callback and on-
hold mobile ring
tones.
The fundamental concept in digital marketing is based on the inbound marketing approach.
Social media optimization
e-Mail direct marketing
Display advertising
e–Books
Optical disks and games

50
Digital marketing trends 2015
1. Content More Important Than Ever
2. Marketing Channels Will Be Even More Connected
3. Mobile Will Take Over
4. Marketing Campaigns Will Be More Data-Driven & More Hyper-Targeted
5. The Laggards Will Finally Adopt
Source: Fortune

51
Movie goers usage of social media
Moviegoers use their social connections to
instantly obtain movie information and to
spread WoM.
40% say they value recommendations they see
posted by their friends or family on social media.

52
Tweeters, Instagramers
Twitter users who go to the movies are 25% more likely
than all social network users to attend a movie on its
opening weekend, 55% tweet about movies regularly,
are also the most frequent moviegoers, attending about
nine movies a year.
Instagram users also go to a lot of movies (average
nine movies a year), are the most spontaneous with
regard to what they see (36% regularly choosing a
movie after arriving at the theater), are the most vocal
about their movie experiences (60% say they post
comments often about movies on their social
networking sites).

54
Brands are cultural statement
Mind share: how well the public knows your brand
and cares about it. Mind share often precedes
market share
To cut through the daily clutter of messages and
products, a brand needs to do more than identify
a product: It must give it a personality.
A brand that has the trust and allegiance of the
consumer and that puts forward a simple, direct
“high concept” idea, is positioned to survive in an
increasingly crowded marketplace.
Brands transcend particular products and carry with
them a whole cultural statement.
Millward Brown

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Entertainment brands
Entertainment companies, whose
products are purely cultural, have long
recognized this trend.
Acting on it, have not merely created
strong brands; they have built brand
empires.
They have carved out pieces of our
collective psyche that transcend any
single product.
We have a relationship with these
companies that disposes us to accepting,
or at least giving a courtesy look at, any
product with their brand on it.

56
Entrance into a word that embodies one single powerful
idea: family, taste, money, fun
Consumption of a brand´s products empowers the consumer with the
qualities of the brand.
The base principle remains the same: consume and become.
• Disney doesn´t simply mean animated features or theme parks
anymore: it means family.
• Bloomberg is not just a terminal on a trader´s desk; it is
instantaneous financial news and analysis.
• The NBA isn´t about watching tall men put the ball in the basket
with a high degree of accuracy; it´s about a fast, urban, street
lifestyle, whit all the glitz and glamour of showbiz.
• Cartier isn’t about jewelry or luxury but about desire.
• A brand makes a lifestyle statement.

57
From hits to brands to franchises
No longer sufficient merely to turn out a hit movie,
TV show, magazine, or book, because in many
cases these products cannot be profitable on their
own.
A hit must become a franchise and, in so doing,
become the hub from which a wide-reaching
variety of products emanates.
Hits behave like brands. By occupying every
available niche in popular culture, hits become
long-lived, wide-reaching brands.

58
Familiarity factor linked to mainstream concepts
Main drivers of “TV-like”
Contents
Packaging
Relate to the trust level
Content drivers
If it has been broadcast on TV
Production quality
Target audience
Programme title
Producer
Format
Packaging drivers
Service supplier brand
Contents presentation
Price
“TV-like”
Consumers like the
endorsement of a company
name they recognize.
But the new offerings of the
brand have to fill a need or
supply a distinct pleasure of
their own, a unique selling
proposition embodied in the
brand.

60
Top-platforms to watch a film in Europe
• Film viewers mainly choose to watch films on television because it is
cheaper
• On DVD because it is more convenient (they can watch whenever they
want and select the language)
• In cinemas because it is the first window (the films are recent) and it
provides the most complete film experience.
• 84% of film viewers like 'watching films at home because it is
• cheaper'
• 81% like 'watching DVDs because they can watch the films
• anytime they want'
• 74% like 'going to the cinema because of the complete film
• experience'
• 66% like 'going to the cinema because they like watching the
• latest films'
Source:A profile of current and future audiovisual audience, European Commission, 2014

61
Linear TV still most used
Linear TV: Television service where the viewer has to watch a
scheduled TV program at the particular time it’s offered, and on the
particular channel it's presented on.
• In general, people prefer to watch television on TV
sets: watching on smaller screens is typically a fall-back
rather then a choice
• Broadcast TV is a non-rivalrous service: the quality of
the broadcast signal is not affected by the quantity of
viewers
• Average viewing hours in Europe have risen slightly
from 3,5 hours to just under 4 hours
• TV advertising increased from $34.7 billion to $38.9
billion between 2004 and 2013
Source: Defined Term, Deloitte, Ericsson Media Lab

62
Streaming TV is soaring
Streaming content is an audio or video file on the Internet that
is partially downloaded and then played as the remainder of the
file is being downloaded.
Live streaming is the method of constantly sending and
receiving content over the Internet.

63
Streaming and Web TV are becoming mainstream
A seller’s market
Digital-video producers, especially those focused on programming for smartphones, are enjoying
something they didn’t have a few years ago
Exclusive contents
Netflix: Running about two dozen original series, including comedies, dramas, and cartoons, and it has
slated 30 more for 2016, plus a steady stream of original documentaries, standup comedy specials, and
the occasional feature film.
YouTube Red: Teen aesthetics, Single by 30 (New Form Digital), a show about two teenagers who
promise to marry each other if they wind up unattached at that unfathomable age.
Go90 (Verizon): Rights to six other New Form Digital shows including #DoOver, about a woman who
has to keep reliving her disastrous 25th-birthday party. 52 original series by the end of the year and
programming deals with about 100 companies.

64
Things people do while watching TV
Source: Nielsen 2012
• 45% watch TV and use tablet
simultaneously on a daily basis.
• 69% do this several times a week.
• 12% of tablet owners never watch TV while
on their device.
• 61% check e-mail on a tablet while also
watching TV.
• 47% of tablet owners visit a social
networking site.
• Women are more likely to visit a social
networking sit than men, with 50% of
women and 44% of men.
• Men are more likely to check sports scores,
and look up information about the show
they are watching.

65
Consumers prefer different devices for short-form
and long-form TV programmes
 Conventional long-form TV programmes, broadcast or
on-demand, typically watched on TV sets, shorter video
more on computers, smartphones, tablets
 Different types of video suit different needs
 Video clips are likely to be viewed through the day, fill
small voids of time
 Long-form watched in the evening, people want to
relax, content curated by a third-party
 As people grow older they prefer dramas like Breaking
Bad or House of Cards

67
Media convergence: dissolution of boundaries
Concentration, confluence, merging - these are some synonyms the convergence, a current term in the
media and communications industries to describe the dissolution of boundaries between the media,
telecom and information technology sectors.
In 1983, the American political scientist Ithiel de Sola Pool described the concept of convergence as a
driving force for change in the media industry in his work Technologies of Freedom – probably, this was the
first time the concept was presented (Jenkins, 2006).
The convergence of modes – as designated by Sola Pool - blurs the boundaries between point-to-point
communication media (telephone, telegraph, etc) and mass media (press, radio, television): in this way, one
physical medium transport of information that in the past only offered one type of service, now offers various
services.

68
Media convergence: dissolution of boundaries
http://www.youtube.com/watch?v=ibJaqXVaOaI
Henry Jenkins: What is media convergence?

69
Media convergence: regulatory environment
In the European Union, the Green Paper on the Convergence of the Telecommunications, Media and
Information Technology sectors was established as a key element of the overall framework for the
support of an information society, following the Green Paper on Telecommunications (1987) and various
EU legislative initiatives in the audiovisual sector – such as the remarkable example of the Television
Without Frontiers (1989) directive.
To ensure that the benefits of convergence contribute to social and economic development of Europe was
one of the aims of the Green Paper on Convergence, presented as a first step for to make way for the
development of an regulatory environment that would enable the full realization of the opportunities offered
by the information society in the interests of Europe and its citizens.

71
HOW DIGITAL TECHNOLOGIES TRANSFORMED
CINEMA: PRE-PRODUCTION, PRODUCTION, POST-
PRODUCTION, DISTRIBUTION AND EXHIBITION

72
Film: a paradigma shift
Filmmaking has traditionally been a very
structured, expensive, and hierarchical
process.
Digital technologies open up new
mechanisms and processes, which can
offer alternatives to the stable systems of
production, distribution, and exhibition.
There has been a paradigm shift as
digital and computer technologies are
changing the parameters for how movies
are made, distributed, and seen”
Sources: Daly, K. M. (2010) “How Cinema is Digital”. In Einav, G. (2010) Transitioned Media: A Turning Point Into the Digital Realm. New York: Springer. Pp. 135
ANATOMY OF A FILM CREW IN PICTURES
http://www.theblackandblue.com/2011/07/07/crew-anatomy/

73
Film: a paradigm shift
Sources: Daly, K. M. (2010) “How Cinema is Digital”. In Einav, G. (2010) Transitioned Media: A Turning Point Into the Digital Realm. New York: Springer. Pp. 135
“As a new medium, cinema becomes participatory,
nonhierarchical, mobile, mutable, and characterized by
excess as opposed to scarcity.”
ANALOGUE CINEMA
- Difficult
- Expensive
- Time consuming
- Hierarchical
- Passive reception
DIGITAL CINEMA
- Easy
- Low cost
- Less time consuming
- Non-hierarchical
- Audience participation

74
Analogue cinema: La NuitAmericaine / Day for Night
(1973)
http://www.youtube.com/watch?v=qSqfhjt-Gg8

75
Persuasive digital
«Digital technologies have penetrated all levels of the production and post-
production of movies. Many of these developments are non-obvious, taking
place in processes of moviemaking that are well behind the scenes.»
Daly, 2010

76
All cinema is digital (one way or the other)
Scriptwriting:
MS Word, Final Draft, etc
Production Web sites, Blogs or Social Networks
(to build and maintain contact with the audience)
Casting & Staffing:
Fundable, IndieGoGo, ArtistShare, etc
Viewing ‘dailies’
Editing:
Avid, Final Cut, Adobe Premiere, etc
Post-production & Visual / Audio Effects:
Adobe After Effects, Autodesk Smoke, etc

77
Lower production costs
 HD film cameras under 200€
 mobile phones with good quality cameras
 inexpensive or free editing software
 machinima (use of real time 3D computer graphics render engines, from videogames and virtual
worlds)

78
«The lowered cost and ease of production does open up new spaces for
moviemaking and new communities of moviemakers and viewers often
overlapping.»
Daly, 2010

79
Production
IMAX, 3D, drones, miniature
• IMAX and 3D: The attitude toward 3D during anticipation of a film
is now mainly positive, enhancing the sense of event and special occasion,
particularly when in association with IMAX. The capability for the technology
to improve a film’s success is clear and with certain directors pushing the
boundaries of 3D as a narrative device, the technology has proven to be
more than just a gimmick to generate revenue.
• Avatar: The ratio of 3D to 2D attendance was 90:10. It achieved just over
$1,000,000,000 worldwide in only 17 days, the fifth movie in history ever to
hit $1 billion. It is one of the most prestigious 3D films of all time. Cameron
shot using a fusion camera system, where two camera lenses are about as
far apart from each other as the average pair of human eyes, recording two
separate images for each eye. Represented a dramatic leap in film
technology, producing a cinematic experience to be remembered.
• Hugo: Shot in 3D in a similar fashion to Avatar which helped Scorsese apply
3D as a storytelling device to add depth and intensity.
Drones and
miniature
cameras for
films, sports,
news, nature
programes but
need more
stability, range,
speed.
Super slow
motion

80
Post production: editing and special effects
THEN
Editing
- used to be a very time consuming and highly
specialized skill.
- one could only edit after the film had been
developed.
Special effects were not part of the editing
process, but were created in a laboratory.
NOW
Basic editing software is available free on
almost every PC and free editing programs are
accessible online. Users can put together video
clips and add sound tracks, titles, transitions,
and special effects, as well as easily remix
outside content with their own content.

81
The career of film editor Walter Murch’s goes hand in
hand with the traditional and modern technologies of
this craft.
Murch was nominated 4 times for the film editing
Oscar, all in different systems.
More recently, Murch used Apple’s Final Cut Pro and
Power Mac G4 computers to edit Anthony Minghella’s
Cold Mountain (2003) – considered a leap for big-
budget films, which mostly used the Avid systems.

82
Julia (1977)
Moviola
Apocalypse Now
(1979) KEM
flatbed
The English
Patient (1996)
Avid
Cold Mountain
(2003) Final Cut Pro

83
http://www.youtube.com/watch?v=IYmlKAq1SU0
Walter Murch: “Until Recently, Film was a Digital Sandwich Between Analog
Slices of Bread”

84
Special effects - what used to require a $30,000 special effects workstation can now be done at
consumer price level on a home computer.
Color correction – color correction is available from “prosumer” editing software along with a number
of other effects.
Fine tuning frame-by-frame: a.k-a. digital intermediary (DI). This allows filmmakers to change the
color scheme of a background, put together scenery montages, etc.
Distribution = catching point for filmmakers
(high costs of producing prints + delivery).
Digital technologies are breaking up the distribution oligopoly
(falling storage and transmission costs).

85
George Lucas: “Distribution is a Supermarket”
http://www.youtube.com/watch?v=Bpu-QlVtjhU&feature=BFa&list=PL4443FC93FF19E065

86
Distribution: (old) and new models
 DVDs
 Digital downloads
 Video on demand (VOD)
 Subscription on Demand (SVOD)
 Online communities
 Online social networks
 Streaming movies

87
Distribution: new models
«The affordances of online communities and networks have enabled
filmmakers to find their audiences in new ways, using Internet
marketing and social networks and therefore opening up the legitimate
possibility of self-distribution and smaller distribution outlets.»
Daly, 2010: 140

88
Audiences anywhere can collaborate with filmmakers, particularly in
distribution and marketing, and even financing.
TheMovieFund.com
cinecrowd.com
indiegogo.com

89
WithoutABox*: https://www.withoutabox.com/
* created in 2000, acquired in 2008 by IMDB (owned by Amazon)

90
“«At every level digital technologies have created more collaborative
environments in cinema production, distribution, and exhibition»
Daly, 2010: 146

91
All cinema is digital?
Martin Scorsese: “Celluloid is Still Going to Be a Choice”

93
IMAX: Gargantuan technology

95
Home theatre: the no so small experience

96
Short form web contents
Comedian Jon Stewart returns in HBO short-form deal Deal with cable
television channel HBO (TWX.N) to produce short-form digital content on
current events in what will be his first announced entertainment project
since quitting "The Daily Show" in August.
Content will be shown on its digital platforms HBO NOW and HBO GO.
HBO will also get the first look at other, unspecified, film and TV ventures
from the comedian.
Stewart will view current events through his unique prism" and work with a
graphics company to produced timely short-form digital content that will be
refreshed multiple times a day.
Jerry Seinfeld, co-creator of the award-winning 1990s comedy series
"Seinfeld," launched a popular web series in 2012 called "Comedians in
Cars Getting Coffee," made up of short episodes, that is now in its sixth
season and has been streamed about 100 million times.

98
Short form interactive contents
Snapchat: Videos formatted for viewing on a smartphone,
from partners such as BuzzFeed and Comedy Central, and
prompt viewers to swipe from one brief clip to another unless
they opt for a longer segment.
100 million monthly active users, 6 billion videos viewed each
day, triple the number in May, just 2 billion daily videos viewed
shy of Facebook’s 8 billion.
All video views are via mobile devices — there is no desktop
component available.
User-generated videos, from viewers watching the service’s
live events (e.g. sporting events, college move-in day, ‘Literally
Can’t Even‘, etc. a la Twitter Moments) or through its Discover
offering.
Services targeting different niches
Refinery29’s short videos focus on
women.
Vimeo aims for art-house fare.
Spotify is developing works that can be
played “ambiently”—that is, listened to
while your phone’s in your pocket.Sources: Snapchat, Financial Times

99
Other forms of video consumption
• 83% of Moms search online for answers
to specific questions about being a
parent.
• 3 in 5 moms turn to online video for their
answers.
• 81% of YouTube-watching Moms watch
how-to videos, which is significantly
higher than the average viewer (75%).
Source: Google+Ipsos Moms + YouTube: How Moms Use Video For Family Research

10
0
Other forms of video consumption
A two-year wait for editors and script writers
Demand for scarce, expensive, good television content is at an all time high
Over 350 scripted series in production in the US in 2014
Survey released in June by
TiVo:
9 out of 10 people are
engaging in “binge or
marathon viewing”

10
2
Literature
• Catmull, E. (2008) How Pixar Fosters Collective Creativity, Harvard Business Review
• Finney, A. (2010) “The International Film Business: A Market Guide Beyond Hollywood”,
Routledge
• Jancovich, M., Faire, L., Stubbings, S. (2008) ”The Place of the Audience: Cultural Geographies
of Film Consumption”, BFI Modern Classics
• Lieberman, A., Esgate, P. (2013) “The Definitive Guide to Entertainment Marketing: Bringing the
Moguls, the Media, and the Magic to the World”, FT Press
• Ulin, J. (2010) “The Business of Media Distribution: Monetizing Film, TV, and Video Content in an
Online World”, American Film Market Presents)

10
3
THANK YOU
FOR YOUR ATTENTION

Module - Narratives. Media Formats and Consumer Experience

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