How to use Transmedia to create your own indie movie Franchise? - MIPBlogMIPBlog. Nuno Bernardo: Why producing for multiple platforms is good for storytelling… & for business. May 11, 2012 Transmedia IP Beat Girl (photo) is the latest of many to tell its story across several platforms.
Here's why! By Nuno Bernardo In 2002, when I was taking a small handmade promo of Sofia’s Diary to broadcasters, mobile operators and portals, I had no idea about the potential of a cross-media property and the way audiences were changing their habits of watching entertainment, especially television. I just knew that I had this little character that had these small stories that I wanted to be heard (and broadcast).
What I did know at the time was that it didn’t make any sense to limit the content to just one platform. Sofia’s Diary was shaped around the concept that linear broadcast content was becoming less and less effective as a way to attract and keep audiences. The industry does not seem to be catching up with this new paradigm. Webisodes, made for the Web and mobile platform digital content, still borrow most of there structure from TV. Transmedia views: An interview with Nuno Bernardo. Nuno Bernardo is an award-winning transmedia writer/producer and creator of the world’s first international interactive on-line teen series, Sofia’s Diary.
He is also the CEO of transmedia production company beActive and author of The Producer’s Guide to Transmedia. Your background is in advertising and journalism. What element or factor would you say it was decisive to setting up your company to develop transmedia projects? My career until I set up beActive, was a very “transmedia” career. Advertising, event management, audiovisual production, IT, so I was able to learn how to do several tasks that are key when you develop and produce Transmedia projects. The 350 South – an American journey is described as the first Beactive’s transmedia documentary. The goal of the interactive or participatory element of 350 South is not to create an experience where the audience can decide between door A or door B. Nuno Bernardo: How to reach children with your transmedia project. September 28, 2011 The co-creator of social media TV series Sofia's Diary and imminent MIPJunior speaker explains how to get children interested in your multi-platform IP By James Martin Younger audiences are the early adopters of new technologies and new interactive devices, from the interactive CD-ROM of the late nineties to the success of children’s applications and games available for iPhone and tablet platforms.
New generations seem to prefer interactive experiences over more passive activities like the old habit of sitting down and watching TV. This is what we have been told – but is this entirely true? Yes and no. So when developing a transmedia concept for children you may need to consider TV at the centre of the roll-out strategy. The reason for this is that the majority of children don’t go on the internet to search and find content like adults do.
But for now, you may need to use the power of TV as your advantage. Nuno Bernardo: How to use Social tools like Pinterest in TransmediaMIPBlog. Nuno Bernardo: Why we don’t talk about digital pennies anymore? Nuno Bernardo: Developing your Transmedia project needn't be a mammoth task!MIPBlog. Nuno Bernardo: How to use Transmedia to develop a Comedy project. December 22, 2011 The creator of the recently-launched development & production fund Digital Comedy Lab explains how to use transmedia strategies to develop and market a comedy show By Nuno Bernardo Comedy on the internet is obviously very popular.
It is entertaining for the viewer and just a three-minute laugh can engage the audience in a very simple way. It is also accessible anywhere on YouTube or other social media services, and if you want to laugh at something you can access humorous material quite easily. You will notice that most of this comedy is not character-driven; rather, it is sketch-driven and therefore you don’t have to connect with the characters in order to be amused. This is one of the reasons that sitcom writers and creators develop strong character-based stories. If a story is not character-driven or doesn’t have a strong brand or unique proposition, it won’t have the legs to grow.