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Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx
1. Keynote for InnoTech | Portland, OR
Presented
by
Gunther
Sonnenfeld
05.06.2010
-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐
2.
3.
4. Companies no longer own brands. People do.
People have become media.
Brands have become publishers.
Agencies have become curators.
Media companies are the facilitators.
8. The >>>PULL market is
creating new service layer
BUNDLING in which
publishers, networks and
content portals are being forced
into T-R-A-N-S-I-T-I-O-N as
consolidated yet unacquainted
entities, who retain different
or conflicting agendas and most
often operate against the tide of
INVENTORY and
DEMAND.
18. “An
interes*ng
problem
(we
face)
—
some
marketers
aren’t
interested
in
storytelling.
Most
storytellers
aren’t
interested
in
marke*ng.”
-‐
Ivan
Askwith,
Director
of
Strategy,
Big
Spaceship
19. Yet storytelling is
the very fiber of
why we exist.
And further, why
we make purchases.
Stories give us
something to
believe in, before
and after a
purchase is made.
Or, when we simply
can’t.
22. ADAPTATION:
The ongoing effort to move with
markets & behaviors.
Adaptive technologies not only have the
ability to harvest users, but empower
their consumptive & shareable
behaviors, as well as bridge the gaps
between the two.
Adaptive platforms look beyond
designations such as “2.0” and “3.0”,
and focus on cultural value, as well as
earned media.
DISRUPTION:
The often successful attempt to grab
A-T-T-E-N-T-I-O-N.
Disruptive technologies have the
ability to harvest users, but many
times lack the ability to keep them
engaged.
Part of that is a human issue. The
other part is the need to bundle paid
media and follow inventory demand
[or the lack thereof].
34. And guess what? Search has become a social practice. It’s
literally converging. Which means that all this “Hi-Fi” content on
offer has less and less value.
35. $
.00
The average CPM on
YouTube. Two years
ago, it was as high as
$15 to $20 per.
What does this tell us?
36. PEOPLE are more valuable than INVENTORY.
Just as the tagline suggests.
How ironic.
37. The
...
… is older than you think, AND…
… doesn’t care where content comes from.
… doesn’t want to be told where to consume it.
… doesn’t need to know why it matters.
38. The larger takeaway is that
media can no longer determine
PAID
its own value. But we can.
[GAP]
EARNED
VALUE
CREATION
[GAP]
OWNED
(It’s all about bridging the gaps…)
42. IDEAS
and
messages,
like
content,
can
come
from
ANYWHERE.
The
key
to
their
ADOPTION
is
in
WHAT
THEY
actually
DO,
or,
what
they
SUGGEST
they
can
do,
rather
than
just
what
they
SAY.
44. Mindshare: captures the imagination of
consumers as people and members of
culture; media then adapts or assimilates
to their behaviors, passions and desires.
45. ‘STORYMAKING’ VERSUS
‘STORYTELLING’
STORYMAKING STORYTELLING INVOLVES
INVOLVES THE THE INTERPRETATION OF
ACTIVATION OF LEGACY, THAT LEGACY WITHIN THE
AND THE BIRTH OF AN CONTEXT OF EXPERIENCE.
IDEA.
48. “Transmedia
stories
are
those
which
‘unfold
across
mul*ple
media
plaRorms
with
each
new
text
making
a
dis*nc*ve
and
valuable
contribu*on
to
the
whole.’”
-‐Henry
Jenkins,
Father
of
Transmedia,
Director
of
the
MIT
ComparaMve
Studies
Program
"There
are
short
stories
and
mul*-‐volume
epics;
transmedia
narra*ve
is
a
way
of
conveying
messages,
themes,
and
stories
-‐-‐
a
tool
or
methodology
if
you
will.
We
try
to
dis*nguish
transmedia
narra*ve
implementa*on
from
standard
terminology
such
as
adver*sing
campaigns,
although
the
two
can
co-‐exist
or
overlap."
-‐
Jeff
Gomez,
Transmedia
Pioneer,
CEO
of
Starlight
Runner
Entertainment
49.
50.
51.
52.
53. INTEGRATED MEDIA VERSUS TRANSMEDIA
INTEGRATED
(linear)
<
campaign/promoMon
>
channel
TRANSMEDIA
(non-‐linear)
campaign/promoMon
campaign/promoMon
campaign/promoMon
campaign/promoMon
campaign/promoMon
campaign/promoMon
narra*ve
73. Clearly, good
content just isn’t
good enough
anymore.
**This
secMon
co-‐created
with
ScoU
Walker,
Principle
of
Brain
Candy,
LLC**
74. Copyright is an artificial boundary
between creator and consumer.
Creators
Creators
/
Consumers
Copyright
Consumers
75. PRODUSAGE MODEL
(Passive)
Consumption
(Active)
Usage
(Creative)
Produsage
Produsage:
“the
collaboraMve
and
conMnuous
building
and
extending
of
exisMng
content
in
pursuit
of
further
improvement.”
Alex
Bruns
author,
researcher
(Blogs,
Wikipedia,
Second
Life
and
Beyond,
2008)
76. CO-CREATING VALUE
Value creation comes from personalized
experiences, not products or product-based
transactions.
o The individual consumer is at the heart of the
experience
o Companies can no longer control/own all of
the resources necessary to provide
personalized experiences
C.K.
Prahalad
and
M.S.
Krishnan
The
New
Age
of
InnovaMon,
2008
77. “Customers
play
an
acMve
role
in
co-‐creaMng
value.”
Better
Awesome
C.K.
Prahalad
and
M.S.
Krishnan
The
New
Age
of
InnovaMon,
2008
78. TRADITIONAL vs. COLLABORATIVE ENTERTAINMENT
Traditional Model
o Serial
o Monologue
o Product-based
Creator
Content
Consumer
o Passive
Experiences
Collaborative Model
o Parallel
o Dialogue
Co-‐Creator
Co-‐Creator
o Experience-based
o Active
Co-‐Creator
Co-‐Creator
79. Collaborative entertainment is more than just
interacting with content.
It’s remixing content, creating new experiences,
and sharing them with others.
Then baking the commerce elements into a
social context.
Engagement
InteracMon
ParMcipaMon
CollaboraMon
ContribuMon
Value
ConsumpMon
Value
Co-‐CreaMon