12. The Two Sides of the Transmedia Coin
CANON FANDOM
T S
OFFICIAL CONTENT
R T UGC
CULTURAL INDUSTRY
A O L INDIE CHANNELS
N I R I
MARKETING STRATEGY CROWDSOURCING
S A Y N
PRODUCERS M T G CONSUMERS/PROSUMERS
OBJECTIVE = PROFIT
E E OBJECTIVE = PLEASURE
D L
14. Transmedia Storytelling Production
Movie
Comics TV Series
“Product"
Soundtrack
& Official Site
Soundbites
Once it was Official App
Official
Magazine
Multimedia
15. Transmedia Storytelling Production
Websites
UGC Social Media
TV Books/eBooks
Transmedia
Movies/Docs
World Video Games
(Bible)
Music/Podcasts Board Games
Gadgets Online Videos
Now is Meetups
Ugc is a
Convergence multiplier
16. Areas of Transmedia Production
Narrative
Execution Experience
Business
Audiences
Models
Media/Plat
forms
17. Narrative
A Transmedia version of Cinderella
could now be developed on TV,
Online Video, Music, Blogs, Social
Media…
18. Narrative - Questions
What do we want to narrate?
How are we going to narrate it?
What is its genre?
Who are the main characters? What do
they want? What relations?
Where and When the Story Happen?
Fictional World, not, mixed?
What structure?
20. Experience - Questions
What kind of Transmedia experience?
What kind of engagement? How will it
influence the storytelling?
How to manage the engagement?
What control have the users over the
story?
Will be the experience limited to media
On-Off, or in real life too?
24. Media Platforms
TV
Cinema
Books
Comics
Webisodes/Mobisodes
Web Sites
Apps
Online Video Games
Video Games
Social Media
Wikis
Alternate Reality Games (ARG)
25. Media Platforms - Questions
What does offer every Media Platform?
What Media is adapting better to the
experience?
Does it add value or is it just fashion?
Will we start from a Mass Media or
Niche, or vice versa?
Will we start with free viral content and
go premium after, or vice versa?
28. Simulation (1)
Paid Content
(Kindle, DVD, PPV/Download, Book
)
Free content distribution for
Audience building
(Webisodes/Mobisodes, Comics)
Consolidating the hardcore fans
(ARG, webisodes and comics just
for fans)
Collaboration with fans for reaching
occasional audiences (collaborative
sequels)
29. Simulation (2)
Attracting big occasional audiences
(Flashmobs, broadcasted and
sponsored)
Transforming the occasional
audience into fans (Social Media,
Twitter storytelling)
Collaborating with the fans in the
expansion of the experience
(Contests, UGC Videos)
Paid Content
(DVD, Kindle, PPV/Download, Book
)
30. Simulation (3)
“Long form” content as project base
(Movie)
Consolidating fan base and nurture
the crowdsourcing (Social Media,
merchandising, teasers)
Collaborating with the fans in the
expansion of the experience
(Contests, UGC Videos)
Paid Content (DVD, Kindle,
PPV/Download, Book)
31. The Transmedia Bible
A 3 folders
document is well
saved in the
Microsoft’s most
secure strongbox
and it’s not the code
of Windows 8
butThe Halo Story
Bible
32. The Transmedia Bible
Premise
Expansion Theme
Genre Audience
Narrative
Synthesis Bible Business
Model
33. The Transmedia Bible
Treatment
Marketing Fuctional
& Business Specs
Bible
Design
Tech Specs
Specs