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Stratégie Transmedia

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Rapport-sur-les-tendances-2015.pdf. MetaMediaFTV9_SCREEN-2. MetaMediaFTV9_SCREEN-2. LivreBlanc.Transmedia.Storytelling.Jardindesmarques. 42 Entertainment. -Los Angeles Times "Why So Serious?

42 Entertainment

" was designed as a 360° alternate reality experience that played out over 15 months leading up to the release of The Dark Knight. Spilling out over a multitude of different platforms, this deep immersive campaign recruited the audience to become real citizens of Gotham City. Over 11 million unique participants in over 75 countries fueled the rise of the Joker as henchmen, campaigned for Harvey Dent to get elected as District Attorney, and even took the law into their own hands by becoming copycat Batman vigilantes.

From calling phone numbers written in the sky, to hunting down GPS coordinates to find mobile phones baked inside of birthday cakes, "Why So Serious? " Reports - The Promise and Realities of Creating Immersive Media Projects - Best Practices. Anyone creating immersive media has run into a similar challenge: people outside of the creators’ bubble are not exactly sure what you mean by “immersive”, “interactive”, or “transmedia” experiences.

Reports - The Promise and Realities of Creating Immersive Media Projects - Best Practices

Producers of this new form of media often get questions like: Where is the business model? What are the audience numbers like? How engaged are users/what is the impact? Doesn’t this just distract us from good storytelling? This article takes a deep dive into audience numbers and behaviors for a few key immersive media projects, and, more importantly, it puts the spotlight on the top practitioners in an emerging craft. Transmedia writer and director Lance Weiler predicts that a “more social, more connected, more personalized wave of media” is coming, in stride with the platforms and practices of the new generation. Even motion pictures were initially not great at commanding audiences' attention. “Cinematic Experimentation” Weiler's Best Practices Leave Gaps. Applications. The Pixel Lab is open to experienced media professionals working across film, broadcast, advertising, art, publishing, games, online and mobile.

Applications

We select up to 20 producers to attend with a project and up to 20 media professionals to attend without. PRODUCERS APPLYING WITH A PROJECT Producers working in drama, documentary, games, animation and/or new media are welcome to apply with a project. Both fiction, non-fiction and hybrid projects with stories that can extend across more than one platform – film, TV, online, mobile, gaming, interactive, publishing and/or live events – will be considered. There are no budget restrictions and projects will be accepted at any stage. Producer attending with a project course fee: £1,995Fees include all training & course materials; accommodation & all meals for the residential week from 28 June – 4 July 2015; 3 nights B & B in a Central London hotel from 12 – 15 October 2015 tbc.

Application form for producers attending with a project – HERE. 1. SXSW14 Re-cap: Building An Interactive Storyworld. SXSW14 Re-Cap: 5 Lessons Learned from Movie Studios on How to Market Your Movie. Welcome to the fourth part of my SXSW14 re-cap, which will focus on the 5 Lessons Learned from Movie Studios on How to Market Your Movie panel.

SXSW14 Re-Cap: 5 Lessons Learned from Movie Studios on How to Market Your Movie

To go to any of my other SXSW14 re-caps, please click here. Transmedia Marketing Case Study: The Hunger Games – Catching Fire. In about three weeks, The Hunger Games: Catching Fire will hit cinemas around the world.

Transmedia Marketing Case Study: The Hunger Games – Catching Fire

Excitement for the next installment of the THG universe is high, and a large part of it is due to the transmedia marketing strategy for Catching Fire, which consists mostly of a mix of social media, fan participation, and brand cooperations. Responsible for this unique marketing campaign is Campfire, a New York-based transmedia agency who also helped with the marketing surrounding the launch of the Game of Thrones TV series, for example. The marketing campaign for Catching Fire kicked off at the beginning of 2013, and over the course of the last months, we’ve been treated to increasing amounts of content from the THG world. Today, I’d like to offer an overview of the different tools and media Campfire and Lionsgate have been using to create a new type of excellent entertainment marketing that blurs the line between reality and fiction.

Billboard advertising futuristic “Capitol Couture” fashion. Tv series and transmedia storytelling strategies. Those words can scare you but there’s nothing to be afraid of.

Tv series and transmedia storytelling strategies

Actually, transmedia storytelling is a strategy easy to understand. The transmedia strategy uses several media to create and nourish a whole universe around a brand, a movie or some other cultural object. The difference with cross-media strategy (usually used by brands) is that the message or the story promoted is different on each media. Actually, each media add a piece of the story, they answer each other. They are complementary in the description and content feeding of the universe.

Castle American channels are creative when talking about series promotion and advertising. Richard Castle, who follows a police inspector (Kate Becket) in her investigations to be inspired in writing thrillers. They invented a whole identity : real books from the author that you can buy anywhere, Twitter and Facebook accounts, and of course, a personal website mentioned in the series… They even released comic books. Heroes True Blood Estelle.