Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

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Keynote for InnoTech | Portland, OR

Presented by Gunther Sonnenfeld 05.06.2010

Companies no longer own brands. People do. People have become media. Brands have become publishers. Agencies have become curators.

Media companies are the facilitators.

Our relationship to media.

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.

Our relationship to content.

“It’s not information overload (we suffer from), it’s filter failure.”

- Clay Shirky

Let’s be perfectly clear about one thing: Media isn’t fragmented. Content is.

Source: Columbia University, School of Media Studies

Source: Columbia University, School of Media Studies

Why we “brand” content.

“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

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.

Our relationship to technology.

PEOPLE are loyal to INFORMATION, not places or_ destinations.

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].

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.

The Great Technology Paradigm…

© Gunther Sonnenfeld 2009

Our relationship to each other.

This all tells us that, clearly, we need to change behavior,

not just drive it.

But first, we must get real about what our data tells us.

So, (for example), we know that online video ad spends are on the rise…

We also know that video is a better way to activate purchase intent…

However, most of this content is created by labels, studios and publishers.

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.

$ .00 The average CPM on YouTube. Two years ago, it was as high as $15 to $20 per.

What does this tell us?

PEOPLE are more valuable than INVENTORY. Just as the tagline suggests.

How ironic.

… 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.

...

The

… is older than you think, AND…

PAID

EARNED

OWNED

[GAP]

[GAP]

VALUE CREATION

(It’s all about bridging the gaps…)

The larger takeaway is that media can no longer determine its own value. But we can.

The importance of storytelling.

Mindshift: great content is borne out of platforms and experiences, not just campaigns or ad-like objects.

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.

By productizing stories. (as opposed to just creating stories out of, or for, products).

Mindshare: captures the imagination of consumers as people and members of culture; media then adapts or assimilates to their behaviors, passions and desires.

‘STORYMAKING’ VERSUS ‘STORYTELLING’

STORYMAKING INVOLVES THE ACTIVATION OF LEGACY, AND THE BIRTH OF AN IDEA.

STORYTELLING INVOLVES THE INTERPRETATION OF THAT LEGACY WITHIN THE CONTEXT OF EXPERIENCE.

WHAT

TRANSMEDIA IS AND CAN BE…!

“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

INTEGRATED MEDIA VERSUS TRANSMEDIA

INTEGRATED (linear)

TRANSMEDIA (non-‐linear)

narra*ve

channel

< campaign/promoMon >

campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon

REDEFINING THE PLANNING ""PROCESS!

What if we no longer had to look at media ini*a*ves as separate from

BUSINESS SOLUTIONS? Or be[er yet, separate

from NEW BUSINESSES?

A new breed of storymaker & content curator .

The new power of the individual (via one’s social graph).

In case you didn’t get the memo, PEOPLE now have the ability to create their own MESSAGES.

(Fathom that…)

Value co-creation.

Clearly, good content just isn’t good enough anymore.

**This secMon co-‐created with ScoU Walker, Principle of Brain Candy, LLC**

Copyright is an artificial boundary between creator and consumer.

Copyright

Creators

Consumers

Creators / Consumers

Consumption

Usage

Produsage

(Passive)

(Active)

(Creative)

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)

PRODUSAGE MODEL

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

CO-CREATING VALUE

“Customers play an acMve role in co-‐creaMng value.”

Better Awesome

C.K. Prahalad and M.S. Krishnan The New Age of InnovaMon, 2008

Creator Consumer

Co-‐Creator

Co-‐Creator

Co-‐Creator

Co-‐Creator

Content

Traditional Model o  Serial o  Monologue o  Product-based o  Passive

Collaborative Model o  Parallel o  Dialogue o  Experience-based o  Active

Experiences

TRADITIONAL vs. COLLABORATIVE ENTERTAINMENT

Engagement InteracMon ParMcipaMon CollaboraMon ContribuMon

Value Co-‐CreaMon

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.

Value ConsumpMon

Source: Tony Deifell’s “The Big Thaw”

Socializing commerce.

Great experiences obviate the intent to purchase. Purchasing product is a state of mind. Purchases happen through sharing, NOT selling.

A recent social experiment… (storymaking development)

CAUSE

CONTENT

SERVICE

EXPERIENCE

PRODUCT

story

story

story

story

1.  Contextualize 2.  Narrate 3.  Productize 4.  Deliver

h\p://www.youtube.com/watch?v=Tmf0ugQrDFk

UBIQUID.US

“Content isn’t king, it’s now a Republic.” - Faris Yakob, Chief Innovation Officer, MDC Partners

THANK YOU FOR

PARTICIPATING. (let’s make this happen…)

Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

Entertainment & Humor

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