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The Pixel Lab 2011-Nuno Bernardo How Transmedia Can Empower Producers


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The Pixel Lab 2011-Nuno Bernardo How Transmedia Can Empower Producers

  2. 2. Nuno  Bernardo  •  Founder  and  CEO  of  beAc1ve  a  mul1-­‐pla7orm  content  produc1on   company  with  opera1ons  in  Portugal,  Ireland,  UK  and  Brazil.  •  Creator  and  Producer  of  Sofia’s  Diary,  one  of  the  world’s  first  mul1-­‐ pla7orm  teen  series.  Adapted  in  10  territories  and  sold  to  Sony  Pictures   Television  in  2010.  Produced  in  UK  for  BEBO/Five  TV.    •  Creator  and  Producer  of  Flatmates,  Beat  Genera1on  and,  Transmedia  proper1es  that  were  produced  and   adapted  in  Europe,  Asia,  North  America  and  La1n  America.  •  Writer/Producer  of  Final  Punishment,  2010  Emmy  and  Rose  D’Or  nominee   and  MIPCOM  Best  Mul1-­‐pla7orm  Format  winner.  •  Creator  of  Aisling’s  Diary  for  RTE.  Winner  of  a  Kidscreen  Award  in  2010  and   2011,  New  York.  •  Author  of  the  books  “ The  Producer’s  Guide  to  Transmedia”  (2011)  e   “Interac1ve  TV  Produc1on  Guide”  (2001).  
  3. 3. My  influences…  •  “War  of  the  Worlds”  Radio  Show.  •  The  Personal  Computer.  •  “Majes1c”  from  EA.  
  4. 4. Why  Transmedia?  •  Transmedia  answers  the  demands  of  today’s  audiences   lifestyles:  content  anywhere,  on  any  device.    •  Audiences  are  becoming  fragmented  and  choosing   their  content  on-­‐demand.    •  Transmedia  makes  content  more  immersive.  •  Entertainment  becomes  global  social  experience.  •  Transmedia  allows  audiences  to  have  an  ac1ve  role  in   the  storytelling  process.    •  Allows  audiences  to  be  heard.    •  Allow  audiences  to  “own”  the  content.  
  5. 5. beAcCve’s  Focus  •  Put  the  audience  inside  of  the  show.    •  Make  the  audience  par1cipate,  be  part  of  it  and   decide  the  outcome.    •  Make  it  personal  and  immersive.    •  Use  “all  medias”  to  make  it  a  truly  360  degrees   show.  The  show  becomes  part  of  your  day  life.    •  Use  the  Internet,  Social  Media  and  Mobile  phones   to  establish  rela1onships  and  build  communi1es.  •  Use  push  devices  (Twiber,  SMS  alerts,  etc)  to   bring  audiences  back  to  the  content.    •  Use  tradi1onal  medias  as  TV  and    Radio  and  to   bring  the  content  to  the  mass  market.    •  Use  brands  as  sponsors  and/or  produce  mobile   and  off-­‐line  products  for  mone1zing  the  content.    
  6. 6. Our  3  Stage  Plan  The  distribu1on  strategy  has  to  take  account  of  three,  broadly  defined,  stages  of  the  development  of  your  product:  •  Developing  the  product  and  launching  it  as  an  online  en1ty.    •  Growing  the  product,  doing  deals  with  other  media  partners   and  moving  into  offline  media  in  the  form  of  brand   extensions.  •   Finally  the  third  stage  that  involves  the  greatest  market   visibility  as  you  move  the  product  into  television,  possibly  a   feature  film  and  the  poten1al  for  licensing  deals  of  products  is   realised.  
  7. 7. The  Birth  of  Sofia  ⇒  Sofia  is  like  a  Virtual  friend.  ⇒  You  can  interact  with  the  story.  You   build  the  story.  You  own  the  story.  ⇒  A  community  is  built  so  your  voice  can   be  heard.  Also,  in  a  mul1-­‐pla7orm,  non-­‐ linear  world,  it  helps  to  “sync”   audience’s  experiences.  ⇒  Sofia  emails  and  text  you  during  the  day   and  appears  on  several  medias.  
  8. 8. Sofia’s  Diary  “Sofia’s  Diary  helps  to  write  the  history  of  the  Television  in  the  UK”   in  Broadcast,  Abril  2008   o  beAc1ve  started  Sofia’s  Diary  as  Web/Mobile   interac1ve  Blog  in  January  2003  in  Portugal.   o  Sofia’s  Diary  extended  to  a  TV  Show,  Radio   Show,  Magazine,  Books,  DVDs  and  full  360   degrees  entertainment  brand.   o  In  the  last  5  years  was  already  adapted  as  a   Transmedia  format  in  10  territories  and   broadcasted  in  more  than  30  countries.     o  Sofia’s  Diary  UK  was  the  first  Web  based  series   to  be  transferred  to  TV.     o  It’s  owned  and  distributed  by  Sony  Pictures   Television  worldwide  since  2006.  
  9. 9. Merchandising  
  10. 10. Interna1onal  Versions  
  11. 11. Content  as  a  communicaCon  tool  o  Sofia’s  behave  like  a  typical  teenager.  She  texts,  she   emails,  she  blogs  and  she  tweets.    o  She  communicates  with  her  friends,  the  audience.  o  During  the  day  she  texts  the  audience  aler1ng  the   audience  for  events  that  happened  in  her  world.    o  The  TV  episodes  show  the  events  men1oned  in  SMS.  o  Audience  is  part  of  the  storytelling  process.    o  Audience  communicates  and  gets  heard.  Audience’s   voice  impacts  the  community,  impacts  the  content.      o  Interac1ve  vo1ng,  forums  and  commen1ng  allow   audience  to  discuss  the  best  way  to  solve  her   dilemmas.    
  12. 12. Content  Ownership  o  If  the  audience  par1cipates  and  helps  shapes  the   content,  they  feel  that  they  own  the  content.  o  In  a  book  signing  event,  a  Sofia’s  Diary  fan  was   upset  because  she  was  not  credited  in  the  book.    o  On  Virtual  worlds  like  Stardoll,  the  users  “own”   their  avatars,  dolls,  houses,  etc.    o  “Owning”  your  content  means  recogni1on.  o  Mash  ups,  parodies,  fan  films,  informal   conven1ons,  fan  Web  sites  and  blogs,  dressing   like  your  characters,  it’s  the  ul1mate  recogni1on   of  your  work.    o  If  it  yours,  you  will  defend  it,  promote  it,   recommend  it,  interact  with  it,  abend  events,  etc.  
  13. 13. Final  Punishment  
  14. 14. Final  Punishment:  StarCng  Point?  •  The  Briefing  and  the  Challenge:  •  The  FP  Briefing:  Create  a  3  window  concept  that  could  show  OI  Telecom   services:  Mobile,  Digital  TV  and  Internet  Portal.  •  We  had  a  script  that  we  were  unable  to  fund  as  no  sponsor  wants  to  be   associated  with  “women  gegng  killed  in  a  prison”.    •  The  Challenge:  how  to  make  a  story  about  “women  gegng  killed  in  a   prison”  relevant  to  an  audience  that  reads  a  similar  story  in  the   newspapers,  everyday.    •  The  solu1on:  make  it  personal  =>  “You  can  save  them!”.    •  The  2nd  Problem:  how  make  audiences  like  and  care  for  women  that   were  convicted  for  murder.      
  15. 15. The  ARG  Started  •  Game  against  1me  to  allow  audience  to   save  the  8  women.  •  Back-­‐story  was  introduced  in  the  form   of  blogs,  photo  albums,  news  ar1cles,   etc  to  make  women  in  prison  more   lovable.  •  Detec1ve  based  game  to  tease   audience  to  find  out  more  about  these   women,  what’s  the  connec1on  between   them  and  who’s  killing  them.    •  Audience  need  to  collect  30  photos  and   a  decoder  that  will  allow  them  to  find   the  right  code.  
  16. 16. The  Final  Punishment  ARG   The  Game  Master   The  Journalist  InMates  Back-­‐story   Youtube/IG  Video  Channel   Mobile  Content  
  17. 17. The  Planning  •  1/10/2009:  Premiere  on  Rio  Film  Fes1val  and  event  in   the  streets  of  Rio  de  Janeiro  and  Fes1val  lounges.  •  3/10/2009:  Fake  news  about  the  “Prison”  to  be   broadcasted  in  OI  Radio  and  published  as  Ad  News  in   several  newspapers  and  blogs.        •  7/10/2009:  Partnerships  with  top  Brazilian  Blogs  to   ini1ate  discussions  about  “Is  this  prison  the  solu1on   for  Brazil’s  overcrowded  prisons  problems?”.    •  9/10/2009:  Blacklords  hack  the  Web  site.  •  10/10/2009:  First  inmate  dies  –  The  game  starts:  you   have  7  weeks  to  save  the  remaining  7  women.    •  10/10/2009:  Social  media  campaign  starts  with   Adwords,  Text  Ads,  Facebook  Ads,  Banners,  and  the   support  of  some  hired  bloggers.    •  15/10/2009:  The  ARG  campaign  starts.  
  18. 18. The  Planning  •  15/10/2009:  Ads  in  in  Brazilian  Websites    to  promote   the  ARG  and  create  a  Web  based  community  to  enable   discussing  and  share    hints  and  codes  between  users.  •  17/10/2009:  Youtube  channel  and  Video   Website  set  up  with  some  “leaked”  videos  from  the   prison  and  inmates:  surveillance  cameras  videos,   prison  psychologist  tapes,  etc.    •  Mid-­‐November:  first  users  decode  the  password.   Prison  Web  site  shuts  down.  •  December  2009:  Broadcast  of  the  4-­‐part   mockumentary  with  the  real  truth  about  what   happened  in  the  Ivo  Kermar1n  Prison.  
  19. 19. All  the  Content  Produced  •  Cinema:  1  *  60m  length  CUT  for  Rio  de  Janeiro  Film  Fes1val.  •  TV:  4  part  mockumentary,  1  making  of  TV  show,  2  TV  ads  and  2  TV  Teasers.    •  DVD:  1  90m  Feature  Film  Cut  +  Extra  material.  •  Web  Video:  8  confessional  videos,  8  lost  tape  videos  and  4  addi1onal  22’  videos.  •  Mobile  Video:  8  *  38s  character  presenta1on  videos.    •  2  Mobile  (JAVA)  games.  •  2  Facebook/Orkut  Applica1ons.  •  3  Twiber  Channels  and  3  Facebook  profiles  and  pages.  •  3  Flickr  channels:  +100  photos  were  produced  and/or  edited.  •  8  Blogspot  blogs.  •  45  different  banners.  •  +1000  tweets  from  the  game.  •  20  SMS  alert  messages  +  1  WAP  web  site.  •  1  IVR  –  Pre-­‐recorded  voice  mail  system.    
  20. 20. What  is  different?  o  The  1me  necessary  to  build  a  brand  and  a   community  is  becoming  very  short.    o  Angry  birds  become  a  pop  culture  reference  and  an   overnight  success  in  less  than  12  months.    o  Using  the  Internet,  Social  Media  and  digital  devices   communi1es  can  unite  fans  around  the  globe.    o  Communica1on  is  more  immediate.    o  Audience  can  get  instantaneous  response.    o  Producers  can  get  instantaneously  feedback  and   responses  from  audience.  o  Producers  can  follow  in  real  1me  the  communi1es   and  what  fans  are  talking  about.    
  21. 21. Audiences  and  Transmedia  o  Producers  can’t  impose  the  media  (and  pace)  where   content  is  consumed.  A  TV  episode  (or  Movie)  can  be   consumed  on  TV,  Computer,  Mobile,  On-­‐Demand,   DVD,  streamed,  etc.    o  From  a  “sync”  experience  –  a  big  chunk  of  the   audience  watch  the  same  episode  at  the  same  1me,   audiences  now  watch  a  show  at  their  own  rhythm.    o  On-­‐line  communi1es  are  now  the  places  where  fans   can  “sync”  and  share  their  experiences.  
  22. 22. Transmedia  Challenges  o  Main  mo1va1on  should  be  tell  a  (beber)  story.    o  TV  shows  &  Feature  Films  have  a  pre-­‐built  audience;  Transmedia  content   needs  to  fight  for  an  audience.  Targe1ng  audiences  becomes  much  more   important.   o  Who  will  interact?   o  How  to  reach  that  audience?     o  What’s  audiences  moCvaCon  to  interact?   o  What’s  their  reward?  o  Transmedia  Storytelling  needs  to  focus  less  on  technology  and  more  on   entertaining  an  audience,  in  enhancing  storytelling  by  the  use  of  technology,  in   becoming  an  audience  success,  not  a  niche  pleaser.  Ar1sts  and  Filmmakers  tell   stories  (don’t  showcase  technology).    o  Producers  need  to  format  Transmedia  as  a  business  and  establish  ways  to  sell   Transmedia  Shows  on  the  Interna1onal  market.  
  23. 23. Why  Transmedia  is  Important?  o  For  the  first  1me,  producers  can  directly  connect   with  their  audiences.  o  Producers  can  now  control  the  way  story  is   developed,  consumed  by  their  audience  and  can   control  the  distribu1on  of  content.  o  Producers  can  contact  direct  with  the  audience,   learn  from  the  audience,  partner  with  the  audience,   some1mes  avoiding  tradi1onal  gatekeepers.    o  Entertainment  brands  can  be  built  outside  the   tradi1onal  media  outlets.  Club  Penguin,  Angry  Birds,   Stardoll,  etc.    o  Producers  can  control  their  own  IP  and  become  the     brand  managers  of  their  own  crea1ons.  
  24. 24. Path  to  Success  1.  Tell  a  Story  2.  Reach  an  Audience  3.  Grow  a  community  (your  fan  base)  
  25. 25. Contacts   Thank  You!   More  Informa1on:   Nuno  Bernardo  beAc1ve,  Produções  Interac1vas,  S.A.   Av.  Duque  D’Ávila,  Nº  23,  1º  Dto   1000-­‐138  Lisboa     Portugal