Transmedia and Intellectual property. James Kay holding key note speech @ StoryDrive China, Photo: Lao Du Interview with James Kay, partner in Sheridans Solicitors’s (UK) film and TV department James Kay is a partner in Sheridans Solicitors’ (UK) film and TV department. His practice centers around the monetization of intellectual property rights with particular focus on the production, financing and distribution of feature films and television programs. His clients include Oscar winning producers, private equity houses, tax advantaged investors, government institutions and talent. On May 29th he gave the key note speech at Story Drive China, the first all-media platform in Asia exploring new forms of collaboration and business models across media boundaries.
You keynote was entitled “From value chain to value world: New dimensions of media exploitation”. Transmedia or spreadable media have become extremely popular. You introduced four (potential) models of monetisation in a transmedia campaign, which are these? No. “Touch” Creator Tim Kring On Storytelling In A Connected World. Tim Kring remembers the day in third grade when an overseas letter arrived for him through a school-sponsored pen pal program. “It was from a little boy in Indonesia, written on that flimsy airmail stationery,” he recalls. “It was like getting a letter from Mars.
I couldn’t believe I was holding the same envelope that boy had written on 10,000 miles away--that we were somehow connected.” As an adult, Kring didn’t lose that sense of wonder and explored global connectivity for social good in his transmedia projects--NBC’s Heroes, the hit 2006-2010 sci-fi drama about a group of people negotiating their superpowers; its digital extension Heroes Evolutions; the 2010 novel Shift, a conspiracy thriller with additional clues offered online; and the 2010 Conspiracy for Good, an online/real-world street-theater game with a real-life cause.
His new Fox series, Touch, which premieres March 22, continues that exploration of spiritual and technological connectivity. The Evolution of an Idea. Alternate Reality Blog / Another Transmedia Blog | Alternate Reality Games and how they (should) rule Transmedia. Navigating the World of Multi-Platform & Transmedia Rituals. I have been trying to find a really simple metaphor for clients, students and other industry professionals to help them better understand the complex world of multi-platform.
Also completing the last few chapters of my Networked Media Storytelling book I needed a big but simple metaphor. One of the biggest issues I have faced over the years is rooted in the question “I tell stories on one or two platforms why do I need to reach out onto other platforms and how?”. I often reply with a long answer that falls into a few categories (1) Audience have fragmented 2) Business models have shifted (3) Engagement and social needs have altered (4) Have you noticed a general decline in traditional media? (5) Your stories can be improved exponentially if you ‘transmediarize’ them etc: I obviously leave the more fundamental ‘how to’s” to my consultations or workshops and a key element of that is what are the new platforms combined with how to design your story appropriately for them.
Cautionary Tale. Transmedia and the Art of Brand Storytelling. Part two of two-part series on transmedia and the changing landscape of media, including the evolving role of online video. You can read part one here. In my previous post, Are You Ready for the Transmedia Revolution? , we looked at the foundational elements of transmedia, a communication strategy that is quickly becoming the standard for storytellers of every kind. As we discussed, with transmedia’s multi-platform outreach approach, people can engage with your story on a deeper level than any single platform allows, opening the door to a more immersive, collaborative experience. That’s because transmedia takes advantage of the way we live and communicate now, crossing freely from one conversational medium to the next, engaging and sharing in different ways within the daily flow of our digital lives.
With a thoughtfully architected transmedia experience, we’re no longer forced to leave our favorite stories behind when moving between devices, screens or locations. Telling Your Brand Story. Transmédia (2/2) : le marketing de l’attention. La convergence des outils et des technologies conduit-elle à la convergence des contenus ou à leur divergence ? C’est peut-être ainsi qu’on pourrait résumer l’enjeu qui sous-tend la question du transmédia, sujet coeur des Masterclass internationales du Transmédia qui se tenaient à Marseille la semaine dernière.
Après avoir observé ce qu’est le transmédia, intéressons-nous à ces enjeux. Médias : complémentarités ou concurrences ? Susana Ruiz est une artiste qui donne des cours à la division des médias interactifs de l’école des arts cinématiques de l’université de Californie du Sud. Elle est également la fondatrice de Take Action, un studio de développement de jeux sérieux. En cela son profil est différent de celui de bien des intervenants de ces masterclass. Elle est à l’origine de plusieurs jeux qui ont reçu une certaine attention comme Darfur is Dying, un jeu sérieux sur la crise au Darfour développé en 2006 ou Finding Zoe pour prendre conscience des stéréotypes masculins et féminins. Tom Brevoort Talks About The Correlation Between Marvel Comics And Movies.
Comic Book Resources recently got the chance to sit down with Tom Brevoort, Executive Editor at Marvel, where he talked about how involved publishing is with Marvel movies. He also talks about how involved Marvel is with franchises such as X-Men: First Class and The Amazing Spider-Man. Said Brevoort: Certainly we publish a lot of X-Men comics and a lot of Spider-Man comics. The difference is that – at least in publishing – on a day-to-day basis we're not even aware of what's going on with the film production on both of those characters.
I've seen the "X-Men: First Class" trailers, and I know exactly as much about it as you do. Where as with the Marvel Studios films that we're doing ourselves, we're much more actively involved on a regular basis, and so there's a little more opportunity for cross-platforming and cross-integration. The immediacy of the interaction is such that it’s more natural that those characters are going to come to the fore. Media Franchise vs. Transmedia : Brooke Thompson : GiantMice.com. On Friday, Henry Jenkins debunked seven myths about transmedia storytelling. It’s a good, quick, and informative read, and you should definitely read it if you haven’t already. I agree with pretty much everything he wrote, but I struggle with what he didn’t say and what that means for franchises. I’m not surprised by this – of those thinking & talking about transmedia he has always been on the inclusive side.
I am also not surprised that most of those who struggle most with franchises tend to come from a native transmedia background (such as ARGs). Here’s a big chunk of what he had to say on franchises: The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Increasingly, broadcast content is also available on line. There’s little to disagree with there, but it leaves the door wide open for very superficial relationships.
It’s not that I’d hold Dr. . * Transmedia is like porn. Seven Myths About Transmedia Storytelling Debunked. Over the past few years, transmedia storytelling has become a hot buzzword in Hollywood and Madison Avenue alike--"the next big thing" or "the last big thing" depending on whom you ask. Last year, the Producer's Guild announced a new job title, Transmedia Producer, a decision that has more or less established the term as an industry standard. More and more companies are laying claim to expertise in producing transmedia content. But many using the term don't really understand what they are saying.
So let's look at what people are getting wrong about transmedia. Myth 1: Transmedia Storytelling refers to any strategy involving more than one media platform. The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Myth 2: Transmedia is basically a new promotional strategy. Yes, many early transmedia experiments were funded through marketing budgets. Myth 3: Transmedia means games. Expérience transmedia avec Détective Avenue d'Orange | De la pub mais pas que. Alors que la fan page du blog est down -et les boutons like- (on attend sagement que tout ça se réactive), c’est le moment de parler transmedia. Le transmedia est une nouvelle forme de narration ayant pour objectif de décliner un contenu sur différents médias complémentaires. Ainsi en utilisant les différents usages et propriétés technologiques des supports choisis, le transmedia apporte une originalité propre et singulière à un récit.
Un exemple récent et réellement bien réussi : « Détective Avenue » Conçu par Orange, Détective Avenue est un jeu-fiction entre série policière et jeu d’enquête. Le pitch : « Gaëlle emménage dans l’appartement de Suzelle, sa sœur qui vient de décéder. A partir d’un tableau de bord, vous allez pouvoir naviguer dans maison à la découverte d’indices en images et en vidéos.
La progression dans le jeu s’effectue en trouvant des réponses à des énigmes et à des quizz optionnels. Il faut aussi motiver le détective qui sommeille en vous. Related posts: Etude de cas : Dexter version transmedia | Transmedia Lab. In December 2010, Showtime announced that a new season of the series Dexter will start shooting in spring 2011 (the sixth one). Since we have some early day fans in our team, we couldn’t resist telling you a little more about this series, which is presently beating audience records in the US. Here’s an analysis of this phenomenon that obviously found an echo in transmedia. 1Origin of Dexter’s universe Before the TV series, we can find the origin of Dexter’s universe in Jeff Lindsay’s books. In 2004, the author published “Darkly dreaming Dexter”, the book where Dexter Morgan was created. A brilliant scientist working for the Miami Police Department as a forensic expert, specialized in blood projections.
But this likeable character has a dark side! The first book sets up the context (locations, characters, origins) of the first season, we’re therefore not surprised to see that Jeff Lindsay participated in writing several episodes. Today, it’s one of the most watched series on Showtime. Transmedia – it’s kind of everything. This weekend has been about recouperating from SXSWi, physically as well as mentally. Time zones are still playing havoc with my sleeping patterns, but slowly but surely things are settling into place again. Which is good, as there is much to be done. In hindsight, SXSWi took the field of transmedia at least a couple of steps forward.
I read this well written article in The Guardian, by Oliver Burkeman, on takings from this year’s SXSW festival, and one thing in particular resonates strongly with transmedia today, as I see it. ” It was the end of day two of South by Southwest Interactive, the world's highest-profile gathering of geeks and the venture capitalists who love them, and I'd been pursuing a policy of asking those I met, perhaps a little too aggressively, what it was exactly that they did.
The many requirements That’s what transmedia is evolving into as well, in my opinion. Here is where I think the Transmedia Artists Guild has made a timely entrance onto the transmedia arena. Collapsus Walkthrough. Collapsus: The Energy Risk Conspiracy. CULTURE HACKER: IT’S ALL ABOUT STORY. It’s tempting to get distracted.
It happens to filmmakers all the time. Concern over gear, building audiences, developing social media strategies, new tools, new services. The promise of transmedia (the ability for a story to live beyond a single screen, device or medium) offers such rich storytelling potential. But for some it will become yet another distraction. Case in point: After a recent speaking engagement I was approached by a group of filmmakers. Now don’t get me a wrong, I’m a strong proponent of filmmakers embracing emerging creative opportunities. I’ve been there. Transmedia is so much more than marketing and promotion. Transmedia isn’t a magic bullet, and while I can see ways for it to work for most projects, it isn’t for every filmmaker. As the category is shaping itself I wanted to take a moment to make a plea for experimentation in the ways you design and craft your stories. Transmedia can be an excellent R&D (research and development) tool. Building A Storyworld Bible.
Watch Animated Fan film SUPERMAN CLASSIC. Building a Renewable Entertainment Franchise. Native, Marketing and Franchise Transmedia Guide « Savvy Productions. Transmedia storytelling falls into 3 camps – there are different examples and maybe more – but this covers a goodly chunk. (Goodly Chunk ? - what a very northern English phrase) I’ll list them and then provide a youtube fest of examples……. Thanks to Jeff Gomez for these labels / definitions - Marketing Transmedia is about extending the narrative beyond the main form, solely to increase audience reach – to launch a new product and create interest and by in from a loyal audience. Franchise Transmedia a “brand” - (e.g. Native Transmedia Here the story is interwoven and created to be experienced in full over a number of ”appropriate to the story” platforms – the story design and platform integration is grown idea 1st and appropriate platforms 2nd – though inevitably – funding may come from a broadcaster or other source, so one medium may be dominant.
Below there’s a Youtube Fest of Examples Soapbox Paragraph! Marketing Transmedia Native Transmedia Online – Arg Conspiracy for Good. Teams Up With the NBA | Apparel | Gear News. By Ryan Penagos The latest Marvel team-up is upon us and it's not in the pages of Marvel Comics--it's in arenas and sporting goods stores across North America! Marvel Entertainment, LLC and the National Basketball Association today announced a collaboration to launch an exclusive collection of co-branded merchandise featuring NBA team logos alongside some of the most renowned Super Heroes in the Marvel Universe.
We sat down with Michael Jerchower, Marvel's Director of Licensing, to get some additinoal info and background on this colossal collaboration. "Co-branding is an important part of Marvel’s consumer products licensing strategy," Jerchower explained. "The Marvel Consumer Products team contacted the NBA in early summer 2010 about establishing a co-branded partnership," Jerchower said. "NBA-Marvel co-branded product provides Marvel the opportunity to gain access into the sporting goods channels and NBA arena stores," Jerchower added.
Knowledge Diplomacy: Global Competition and the Politics of Intellectual Property (9780815776536): Michael P. Ryan. 20 ressources pour mieux comprendre le transmedia storytelling. Rouvrir le débat sur l’adaptation : Kamilla Elliott et les rapports entre le roman et le cinéma. 1Dans son importante préface à Hollywood à l’écran intitulée : « Pour une poétique des films », Marc Cerisuelo invoque Albert Laffay (dans Logique du cinéma) et Julien Gracq (dans En lisant en écrivant) pour écarter la question de l’adaptation où il voit une « fausse fenêtre dans l’appréciation des liens constitutifs qui unissent le littéraire et le filmique1 ». Manière de déblayer un terrain longtemps obstrué par une problématique qui ne semble avoir connu aucun renouveau depuis de longues décennies — preuve en est que « Pour un cinéma impur : défense de l’adaptation » d’André Bazin qui date du début des années 1950 reste aujourd’hui encore la référence théorique la plus communément citée. Un tel appel à renouveler l’étude des rapports entre l’écrit et l’écran s’impose comme salutaire. 2Bref, les critiques se révèlent, on le voit, bien plus violentes encore dans le champ des études anglo-saxonnes. 9Il existe en quelque sorte une guerre entre signes linguistiques et images.
TOC 2010: Jeff Gomez, "Storyworlds: The New Transmedia Business Paradigm" TechTV – Session 1: Producing Transmedia Experiences: Stories in a Cross-Platform World. Cross-Media + Transmedia Entertainment. Quand les récits transmedia se préparent à ré-enchanter notre quotidien. Convergence, confluence, condoléances. Transmedia 2.0 - Participatory Entertainment. The greatest transmedia project you’ll never see » Jonny Green - Wrestling With Words: Defining Transmedia. Viral Video: Everything Is A Remix. Ideas and evidence for marketing people | warc.com. J.J. Abrams' mystery box. Getting started in Transmedia Storytelling. "Deep Media," Transmedia, What's the Difference?: An Interview with Frank Rose.
Autour des films. Getting Started in Transmedia Storytelling.