I was asked to write an article for Digital Book World (up here) on transmedia and publishing. As I researched and wrote the article, a debate was on involving amongst others Mike Monello on Twitter about transmedia vs transmedia methods (i.e. transmedia is transmedia, but a lot of projects that aren't transmedia are using transmedia methods). I can totally understand this thinking, even if it will not affect the way I develop stuff in any sense, but it got me thinking about what methods should be used when, and where...
I do not have the time to write that post now, but will strive to in the next few days. Until then, Glada Wappen as we say over here, as we prepare to celebrate the onslaught of spring :)
Friday, April 29, 2011
Monday, April 25, 2011
The Transmedia Gardener
So, spring is in the air, finally. I’ve been holed up in a studio and have had no time to blog at all. Which is perfectly fine, as I’ve instead been able to actually DO something. Always a nice feeling, especially if the end result will be as good as I think it’ll be. Will post on the project in due time!
Spring is in the air, the snow had melted (partially at least :P) and it was time to sharpen all necessary utensils to get to grips with what passes for a garden around these parts. Standing there, looking at the devastation revealed by the receding snow, my mind started turning around the similarities between that and what I do for a living.
See, gardening and transmedia development, they’ve got a lot in common. No no, hear me out! Like with gardening, where the soil is the one most important aspect – more important than, say hours of sun or how much you water your plants – the foundation needs to be strong and needs to be built and prepared in the right way for any transmedia project.
All that soil-work then, is laying the foundation for the planning work you’ll do for your garden. This then, is totally dependent on the location you’ve got for your garden. Is it a spacious one, where you can spread out and imagine different settings, different themes, different … well, yeah, Entry Points? Is it a narrow ledge, with room for only the barest necessities, like some herbs and suchlike? Is it sunny, is it shady? What are your possibilities, and what are your limitations?
In a transmedia setting, this is equivalent to both your a) budget and b) project. Naturally, what resources you have will affect what you can plan for your project. But more importantly, the project itself will tell you what can – or rather should – be done in the context of the project. Do not order an iPhone app just ’cause it’s cool, if it doesn’t fit your project naturally and logically. At the same time, make sure you don’t order that pine tree plant if all you’ve got is a 3 m2 patch of grass behind your house.
Now, if you look at a garden, you need to plan for longevity or short bursts. Is it going to be an explosion of colors in spring that will then fade away, not needing maintenance, or do you prefer a garden where different things are in bloom at different times of the spring, summer and autumn? When developing transmedia, you need to take these things into consideration as well – are you merely marketing a major release later on, so a quick, massive burst will do? Or are you in it for the long run, maintaining your stories and your story world for months and years on end? Be prepared though – it’s extremely easy, in gardening as in transmedia, to underestimate the time and effort needed to complete a vision and maintain it properly.
I could go into how you chose your plants correlates with how you chose your platforms, but I won’t. Instead, I will end by saying that gardening could learn a thing or two from transmedia as well. I’ve yet to see an immersive, interactive, crowdsourced garden, for instance. If there is one, I’d love to see it.
Now then, MacBook and spade in hand – off to the garden! Or was it the study??
Spring is in the air, the snow had melted (partially at least :P) and it was time to sharpen all necessary utensils to get to grips with what passes for a garden around these parts. Standing there, looking at the devastation revealed by the receding snow, my mind started turning around the similarities between that and what I do for a living.
See, gardening and transmedia development, they’ve got a lot in common. No no, hear me out! Like with gardening, where the soil is the one most important aspect – more important than, say hours of sun or how much you water your plants – the foundation needs to be strong and needs to be built and prepared in the right way for any transmedia project.
All that soil-work then, is laying the foundation for the planning work you’ll do for your garden. This then, is totally dependent on the location you’ve got for your garden. Is it a spacious one, where you can spread out and imagine different settings, different themes, different … well, yeah, Entry Points? Is it a narrow ledge, with room for only the barest necessities, like some herbs and suchlike? Is it sunny, is it shady? What are your possibilities, and what are your limitations?
In a transmedia setting, this is equivalent to both your a) budget and b) project. Naturally, what resources you have will affect what you can plan for your project. But more importantly, the project itself will tell you what can – or rather should – be done in the context of the project. Do not order an iPhone app just ’cause it’s cool, if it doesn’t fit your project naturally and logically. At the same time, make sure you don’t order that pine tree plant if all you’ve got is a 3 m2 patch of grass behind your house.
Now, if you look at a garden, you need to plan for longevity or short bursts. Is it going to be an explosion of colors in spring that will then fade away, not needing maintenance, or do you prefer a garden where different things are in bloom at different times of the spring, summer and autumn? When developing transmedia, you need to take these things into consideration as well – are you merely marketing a major release later on, so a quick, massive burst will do? Or are you in it for the long run, maintaining your stories and your story world for months and years on end? Be prepared though – it’s extremely easy, in gardening as in transmedia, to underestimate the time and effort needed to complete a vision and maintain it properly.
I could go into how you chose your plants correlates with how you chose your platforms, but I won’t. Instead, I will end by saying that gardening could learn a thing or two from transmedia as well. I’ve yet to see an immersive, interactive, crowdsourced garden, for instance. If there is one, I’d love to see it.
Now then, MacBook and spade in hand – off to the garden! Or was it the study??
Friday, April 08, 2011
MIPTV 2011 Wrap Up
So, Friday and writing this while flying back from six days of MIPFormats, MIPTV and Connected Creativity. I see no real point in going throught the proceedings in too great a detail in this post, as you can find all live blogs, links to videos and pretty great insighty stuff at the MIP Blog pages here. Kudos to James, Angela, Stuart and anyone else involved, they did an absolutely marvellous job of keeping people – including me – up to date with what was happening. I’m going to try – as was suggested to me – to Storify my tweets from the past week. I’ll let you know when I’m up to scratch on that.
Gavin McGarry asked me during his wrap up session what had been the key things I’d seen or experienced during these past days… and in a way, there wasn’t anything really new to get me excited and up-in-arms, not directly. In a way, the Palais was still filled with people selling or buying animated series, drama or documentaries, much as it has been for the past six years I’ve been attending.
A new deal on the horizon
But still, something is clearly afoot. You hear about Netflix commissioning series from major producers, Facebook teaming up with Warner Brothers to offer tier one movies for Facebook Credits, Google earmarking 100 million dollars for low-cost content for re-branded YouTube channels… TV is under pressure. Yet, in my book, it’s a good pressure, as the aforementioned ventures are great examples of cost-effective ways to get content to people via services they use daily anyway. When thinking of combining content with FB and YouTube there are also a lot of possibilities from a storytelling and transmedia angle – challenges, yes, but first and foremost possibilities.
One possibility I for one will be looking into is the possibility to combine content distribution with the very well working platform that BitTorrent can offer. Now, as CEO Erik Klinker pointed out, they offer a distribution platform and over 100 million active users, but they are not going into commissioning or producing. Again, I don’t believe this is the only or ultimate solution, but is is A solution, and one that could work very well in combination with others.
Such a lot of people are touching on the convergence between mobile and televison and online and what have you. Still, these days gave me the feeling that – as I tweeted during the week, with regards to SXSW vs MIPTV – you have social media and location based services people on one side, trying to figure out how to reach the massive audience and the massive revenue streams that television still has to offer, while on the other side are the television people, scratching their heads while trying to figure our how to integrate social media and other new servicese with their shows and online content. What is needed is some sort of translation service and/or facilitating service that would just put the right people together with each other and explain one’s viewpoint to the other . (Need something like that, give me call ☺ ).
Mind over matter
This was what Connected Creativity along with their Experience Hub was about, at least as far as I understood it. To a point it worked well; the talks at MIPCC differed quite a bit from the ones in the Palais. Many of them gave great insights into areas I had been lacking in. Especially Tomi Ahonen’s talk (where the way he delivered it was half of the experience), the talk from Fjord on the future of augmentation and AR, Facebook’s visions… I heard so much good things said about Tiffay Shlain’s presentation, which I unfortunately missed, but will try to catch up on later.
On the other hand with regards to Connected Creativity, so many of the people who would’ve needed to hear those talks were in meetings at the Palais or elsewhere during the sessions – not to mention that there being an extra and pretty substantial fee for registering to MIPCC had deterred a number of people from even registering.
The Experience Hub was a nice feature – a big tent quite close to Lionsgate by the beach, essentially straight ahead if one decended the stairs from Riviera Seaview – showcasing a lot of new technology to, with luck, be part of the entertainment and media toolbox in the future. For example, Emotiv’s helmet with it’s almost magical use-this-to-control-anything-on-the-screen-in-front-of-you-with-only–your-brain powers was pretty amazing. We’re getting one for research purposes – as we have a state-of-the-art User Experience and Media laboratory – so I’ll let you know my verdict when I’ve had the chance to play around with it for a while.
IMHO one of the best speakers at the MIPTV panels was Kevin Slavin of Starling.tv (see more about his talk here). Many others touched on the same subject, but he was the clearest and most to-the-point; what the industry has been thinking of as the ”audience” or the ”consumer” or the ”target group” or the ”ratings” are actually human beings, and they set the agenda. They can be as much a part of your story as any scripted character (or show host, or contestant) that you as a producer choose to show as part of the content. If there is a vacuum – as in there not being any Mad Men characters on Twitter – the audience will fill that vacuum for you (there are over 20 Mad Men characters on Twitter to date, registered and managed by fans). If they like (or even better, love) your content, they will also take extremely good care of these characters.
So, a much frowned-upon term....
This then is where the magic of transmedia would enter. Only that transmedia, in the setting of MIPTV, still is more of a hindrance than a help when trying to get something commissioned. As we all know, it is a lot easier to say NO than YES, if you are in acquisitions, and making people unsure about what they actually are buying is a sure-fire way of making the likelihood of a NO reach 99,5%. And, unfortunately, ”transmedia” is still a term that often makes people at least a little bit unsure of what they exactly are being pitched. As Nuno Bernardo said, many a good sales pitch has been ruined by not stopping in time and instead continuing with the fatal words ”…this is also multi-platform, integrating the web and mobile solutions…”. What we need are a lot more great transmedia tv examples to point to – ”hey, like that one, but a little bit different, yeah!”.
Will try my best to do my part on that account.
So, a mix between the old and the new, this week’s MIP – now more so than ever, in my book. Thanks again to all the great people I met – both old friends and new – and hope to see you all again in the not too distant future!
Gavin McGarry asked me during his wrap up session what had been the key things I’d seen or experienced during these past days… and in a way, there wasn’t anything really new to get me excited and up-in-arms, not directly. In a way, the Palais was still filled with people selling or buying animated series, drama or documentaries, much as it has been for the past six years I’ve been attending.
A new deal on the horizon
But still, something is clearly afoot. You hear about Netflix commissioning series from major producers, Facebook teaming up with Warner Brothers to offer tier one movies for Facebook Credits, Google earmarking 100 million dollars for low-cost content for re-branded YouTube channels… TV is under pressure. Yet, in my book, it’s a good pressure, as the aforementioned ventures are great examples of cost-effective ways to get content to people via services they use daily anyway. When thinking of combining content with FB and YouTube there are also a lot of possibilities from a storytelling and transmedia angle – challenges, yes, but first and foremost possibilities.
One possibility I for one will be looking into is the possibility to combine content distribution with the very well working platform that BitTorrent can offer. Now, as CEO Erik Klinker pointed out, they offer a distribution platform and over 100 million active users, but they are not going into commissioning or producing. Again, I don’t believe this is the only or ultimate solution, but is is A solution, and one that could work very well in combination with others.
Such a lot of people are touching on the convergence between mobile and televison and online and what have you. Still, these days gave me the feeling that – as I tweeted during the week, with regards to SXSW vs MIPTV – you have social media and location based services people on one side, trying to figure out how to reach the massive audience and the massive revenue streams that television still has to offer, while on the other side are the television people, scratching their heads while trying to figure our how to integrate social media and other new servicese with their shows and online content. What is needed is some sort of translation service and/or facilitating service that would just put the right people together with each other and explain one’s viewpoint to the other . (Need something like that, give me call ☺ ).
Mind over matter
This was what Connected Creativity along with their Experience Hub was about, at least as far as I understood it. To a point it worked well; the talks at MIPCC differed quite a bit from the ones in the Palais. Many of them gave great insights into areas I had been lacking in. Especially Tomi Ahonen’s talk (where the way he delivered it was half of the experience), the talk from Fjord on the future of augmentation and AR, Facebook’s visions… I heard so much good things said about Tiffay Shlain’s presentation, which I unfortunately missed, but will try to catch up on later.
On the other hand with regards to Connected Creativity, so many of the people who would’ve needed to hear those talks were in meetings at the Palais or elsewhere during the sessions – not to mention that there being an extra and pretty substantial fee for registering to MIPCC had deterred a number of people from even registering.
The Experience Hub was a nice feature – a big tent quite close to Lionsgate by the beach, essentially straight ahead if one decended the stairs from Riviera Seaview – showcasing a lot of new technology to, with luck, be part of the entertainment and media toolbox in the future. For example, Emotiv’s helmet with it’s almost magical use-this-to-control-anything-on-the-screen-in-front-of-you-with-only–your-brain powers was pretty amazing. We’re getting one for research purposes – as we have a state-of-the-art User Experience and Media laboratory – so I’ll let you know my verdict when I’ve had the chance to play around with it for a while.
IMHO one of the best speakers at the MIPTV panels was Kevin Slavin of Starling.tv (see more about his talk here). Many others touched on the same subject, but he was the clearest and most to-the-point; what the industry has been thinking of as the ”audience” or the ”consumer” or the ”target group” or the ”ratings” are actually human beings, and they set the agenda. They can be as much a part of your story as any scripted character (or show host, or contestant) that you as a producer choose to show as part of the content. If there is a vacuum – as in there not being any Mad Men characters on Twitter – the audience will fill that vacuum for you (there are over 20 Mad Men characters on Twitter to date, registered and managed by fans). If they like (or even better, love) your content, they will also take extremely good care of these characters.
So, a much frowned-upon term....
This then is where the magic of transmedia would enter. Only that transmedia, in the setting of MIPTV, still is more of a hindrance than a help when trying to get something commissioned. As we all know, it is a lot easier to say NO than YES, if you are in acquisitions, and making people unsure about what they actually are buying is a sure-fire way of making the likelihood of a NO reach 99,5%. And, unfortunately, ”transmedia” is still a term that often makes people at least a little bit unsure of what they exactly are being pitched. As Nuno Bernardo said, many a good sales pitch has been ruined by not stopping in time and instead continuing with the fatal words ”…this is also multi-platform, integrating the web and mobile solutions…”. What we need are a lot more great transmedia tv examples to point to – ”hey, like that one, but a little bit different, yeah!”.
Will try my best to do my part on that account.
So, a mix between the old and the new, this week’s MIP – now more so than ever, in my book. Thanks again to all the great people I met – both old friends and new – and hope to see you all again in the not too distant future!
Tuesday, April 05, 2011
MIPTV Round Up Day One
The first day of MIPTV drew to a close, as the lawn in front of Grand was packed with people, the beer was as good (and as expensive) as ever and the Cannes night was a very (for a Finn) suitable +15C.
Whereas MIPFormats was a lot about discussing the creative challenges, rights issues and suchlike of formats, MIPTV is, as always, about business. Still, there are a number of interesting panels and talks going on during the day, where creators and industry people share insights and cases. I was quite happy to see a panel on Transmedia, called ”Transmedia Storytelling: How to achieve Creative Excellence?” – especially as the panel featured people like Nuno Bernardo (Sophie’s Diary, Final Punishment), Christopher Sandberg (Truth About Marika, Conspiracy for Good), Tracey Robertson (The Lost Experience), Tom Thirlwall (Kate Modern) and Matt Costello (Polar Productions).
Transmedia at MIP
Now, the live blog of the session is up here, and the whole of the session can be viewed on YouTube here, so I won’t go into detail on what every said during the 1h+ session. Some notes though:
- It seems like the divide is still there, between creatives, tech, marketing etc. ”Sometimes I have made the mistake of pitching a tv show really well, only to – at the end of the pitch – go into multiplatform aspects and possibilities. Then every department must get involved, and no ones wants to assume responsibility for the project”, said Nuno Bernardo more or less. So yes – even though we are getting there, slowly but surely – there is no one person that is a great creative, great producer, knows all the tech involved intimately… Teamwork is a must. We just need to get the teams to work together better and understand each other better.
In my opinion, that is also one of the strengths of thinking transmedially when building a project (no matter if it is drama, game show, news, documentary, kids show…). By building the ”world” of your project and defining core values, it’s place in the world and all actions and reactions that can happen in that world and why they can happen, it is infinitely more easy to explain the content and what you want to achieve to anyone who gets involved, be it tech, creatives, marketing people or anyone involved in the production.
(For example news; they are set in the real world obviously. But to create a good news show, first create the world that is the news show, everyone working with it, all the facilities, all the equipment, building up all the thoughts and the values you want to promote through your news).
- I also can’t help but ponder at the difference between the crowd at SXSW and the crowd at MIPTV – especially, as I tweeted yesterday, the fact that many of the tech-savvy social media and localization service and funky-photo-app-people at SXSW are really really eager to somehow get into television – partly because that’s where some money can be found but to a greater degree because that’s where they can reach an audience better and get involved in ”real” content. At the same time we have a lot of tv and media people here at MIPTV thinking about and wonder how on earth to capitalize on social media and other types of emerging tech and services. I can’t but think these two worlds would need to collide at some point - which will happen, I’m sure, and #MIPCC is perhaps a step in the right direction.
Please do watch the video, or read the live blog, some nice takes there.
Content 360
I had a look at the pitches for the Content 360 competition in the Fremantle/RTL category (which was called Interactive & Cross Media but was quickly rebranded ”Transmedia”, much to the surprise of the people pitching). Four pretty good efforts – one location-and-app-based national treasure hunt, one build-communities-with-music-and-extreme-sports-and-compete-between-communities, one make-your-online-profile-your-lottery-ticket-in-an-online-game-show and one convince-audience-to-part-with-their-money-and-give-to-you-for-your-cause. Not bad ideas at all, will be interesting to see who wins – revealed tomorrow, Wednesday, night.
Fresh?
The Fresh TV Around The World showcase was actually not all that fresh, IMHO, as much of the stuff on display was things looking a lot like stuff we’ve seen before. Here’s the list of the shows shown, from my Twitter feed:
1. Trasformat (Italy) - decode disfigured pics of celebs
2. Honey Pack the bags (Banijay)
3. The Shuffle (Shine) – sort stuff in right order, get clues by performing challenges
4. The Call (Zodiak) – based on prank calls, must prank call friends to win
5. The Recruits (Talpa) Find recruites to finish challenges to go on and win
6. You Deserve It (SevenOne) - main contestant gives money to someone who deserves it (mother etc)
7. Holding out for a hero (ITV) - three contestants play for prize to make someone else's dream come true
8. Still Standing (Armoza) - 1 against 10, and a bit of Million Pound Drop as well
9. The Magicians (Shine) Three magicians in pairs w/celebs compete
10. Impossible (2waytraffic) - 1 couple against 1 magician; is the trick impossible or not?
11. Lady Burlesque (Veralia) - talent show, next burlesque star
12. Dance Cam Slam (MTV) - compete in dance contest via web cams
13. Ano 0 (Canal 13/Chile) - apocalyptic game show, 22 ppl have survived devastating flood
14. Family Explorer (Zodiak) - 5 families out in the wilderness, competing for cash prize
15. Flashback (Warner Bros) - physical game show + memory skills
16. The Village (All3) - couples must charm villagers to win a home in the village
17. A Farmers Life for Me (BBC) - 9 couples compete to get a farm for a year, through farming challenges
18. Love Triangle (Eyeworks) - contestant must chose between two lovers
19. Man Up The House (Eyeworks) - man & friends get to renovate the home, w/o wife getting in the way
20. How to live with women (DRG) - Men go to bootcamp to learn how to live w/ women
21. Service w/ a Smile (Shine) - mentally disabled persons working in a hotel, fulfilling their dream of a real job
22. Beauty and the Beast:Prejudice (Zodiak) where "beauty junkie" lives together w/ disfigured person #miptv
23. It Gets Better (Shine) - 8 celebs who've been victims help other victims
24. Sun, Sex and Supsicious Parents (Zodiak) - parents peeping in on kids doing naughty stuff
25. Meet The Parents (All3) - boyfriends must impress potential in-laws, only thing is, they are actors + hidden camera
I had unfortunately missed out on all the fun that happened in the Experience Hub tent outside the Palais, but went there for a quick look; lo and behold, I saw a fairly interesting product, showcased by Metaio from Germany – a slick app-based participate-in-television-through-AR-tv solution that I think I need to examine a bit closer; might be good to integrate in some format in the future.
Finally a quick CONGRATULATIONS to the Emmy winners of yesterday, nice party and SO nice to see Shankaboot from Lebanon pick up an Emmy. Well done!
Second day starting now, with meetings, meetings, and then the kick-off of the Connected Creativity – will be back with that later.
Whereas MIPFormats was a lot about discussing the creative challenges, rights issues and suchlike of formats, MIPTV is, as always, about business. Still, there are a number of interesting panels and talks going on during the day, where creators and industry people share insights and cases. I was quite happy to see a panel on Transmedia, called ”Transmedia Storytelling: How to achieve Creative Excellence?” – especially as the panel featured people like Nuno Bernardo (Sophie’s Diary, Final Punishment), Christopher Sandberg (Truth About Marika, Conspiracy for Good), Tracey Robertson (The Lost Experience), Tom Thirlwall (Kate Modern) and Matt Costello (Polar Productions).
Transmedia at MIP
Now, the live blog of the session is up here, and the whole of the session can be viewed on YouTube here, so I won’t go into detail on what every said during the 1h+ session. Some notes though:
- It seems like the divide is still there, between creatives, tech, marketing etc. ”Sometimes I have made the mistake of pitching a tv show really well, only to – at the end of the pitch – go into multiplatform aspects and possibilities. Then every department must get involved, and no ones wants to assume responsibility for the project”, said Nuno Bernardo more or less. So yes – even though we are getting there, slowly but surely – there is no one person that is a great creative, great producer, knows all the tech involved intimately… Teamwork is a must. We just need to get the teams to work together better and understand each other better.
In my opinion, that is also one of the strengths of thinking transmedially when building a project (no matter if it is drama, game show, news, documentary, kids show…). By building the ”world” of your project and defining core values, it’s place in the world and all actions and reactions that can happen in that world and why they can happen, it is infinitely more easy to explain the content and what you want to achieve to anyone who gets involved, be it tech, creatives, marketing people or anyone involved in the production.
(For example news; they are set in the real world obviously. But to create a good news show, first create the world that is the news show, everyone working with it, all the facilities, all the equipment, building up all the thoughts and the values you want to promote through your news).
- I also can’t help but ponder at the difference between the crowd at SXSW and the crowd at MIPTV – especially, as I tweeted yesterday, the fact that many of the tech-savvy social media and localization service and funky-photo-app-people at SXSW are really really eager to somehow get into television – partly because that’s where some money can be found but to a greater degree because that’s where they can reach an audience better and get involved in ”real” content. At the same time we have a lot of tv and media people here at MIPTV thinking about and wonder how on earth to capitalize on social media and other types of emerging tech and services. I can’t but think these two worlds would need to collide at some point - which will happen, I’m sure, and #MIPCC is perhaps a step in the right direction.
Please do watch the video, or read the live blog, some nice takes there.
Content 360
I had a look at the pitches for the Content 360 competition in the Fremantle/RTL category (which was called Interactive & Cross Media but was quickly rebranded ”Transmedia”, much to the surprise of the people pitching). Four pretty good efforts – one location-and-app-based national treasure hunt, one build-communities-with-music-and-extreme-sports-and-compete-between-communities, one make-your-online-profile-your-lottery-ticket-in-an-online-game-show and one convince-audience-to-part-with-their-money-and-give-to-you-for-your-cause. Not bad ideas at all, will be interesting to see who wins – revealed tomorrow, Wednesday, night.
Fresh?
The Fresh TV Around The World showcase was actually not all that fresh, IMHO, as much of the stuff on display was things looking a lot like stuff we’ve seen before. Here’s the list of the shows shown, from my Twitter feed:
1. Trasformat (Italy) - decode disfigured pics of celebs
2. Honey Pack the bags (Banijay)
3. The Shuffle (Shine) – sort stuff in right order, get clues by performing challenges
4. The Call (Zodiak) – based on prank calls, must prank call friends to win
5. The Recruits (Talpa) Find recruites to finish challenges to go on and win
6. You Deserve It (SevenOne) - main contestant gives money to someone who deserves it (mother etc)
7. Holding out for a hero (ITV) - three contestants play for prize to make someone else's dream come true
8. Still Standing (Armoza) - 1 against 10, and a bit of Million Pound Drop as well
9. The Magicians (Shine) Three magicians in pairs w/celebs compete
10. Impossible (2waytraffic) - 1 couple against 1 magician; is the trick impossible or not?
11. Lady Burlesque (Veralia) - talent show, next burlesque star
12. Dance Cam Slam (MTV) - compete in dance contest via web cams
13. Ano 0 (Canal 13/Chile) - apocalyptic game show, 22 ppl have survived devastating flood
14. Family Explorer (Zodiak) - 5 families out in the wilderness, competing for cash prize
15. Flashback (Warner Bros) - physical game show + memory skills
16. The Village (All3) - couples must charm villagers to win a home in the village
17. A Farmers Life for Me (BBC) - 9 couples compete to get a farm for a year, through farming challenges
18. Love Triangle (Eyeworks) - contestant must chose between two lovers
19. Man Up The House (Eyeworks) - man & friends get to renovate the home, w/o wife getting in the way
20. How to live with women (DRG) - Men go to bootcamp to learn how to live w/ women
21. Service w/ a Smile (Shine) - mentally disabled persons working in a hotel, fulfilling their dream of a real job
22. Beauty and the Beast:Prejudice (Zodiak) where "beauty junkie" lives together w/ disfigured person #miptv
23. It Gets Better (Shine) - 8 celebs who've been victims help other victims
24. Sun, Sex and Supsicious Parents (Zodiak) - parents peeping in on kids doing naughty stuff
25. Meet The Parents (All3) - boyfriends must impress potential in-laws, only thing is, they are actors + hidden camera
I had unfortunately missed out on all the fun that happened in the Experience Hub tent outside the Palais, but went there for a quick look; lo and behold, I saw a fairly interesting product, showcased by Metaio from Germany – a slick app-based participate-in-television-through-AR-tv solution that I think I need to examine a bit closer; might be good to integrate in some format in the future.
Finally a quick CONGRATULATIONS to the Emmy winners of yesterday, nice party and SO nice to see Shankaboot from Lebanon pick up an Emmy. Well done!
Second day starting now, with meetings, meetings, and then the kick-off of the Connected Creativity – will be back with that later.
Sunday, April 03, 2011
MIPFormats Round Up Day Two
So, second – and final – day of the MIPFormats are done and dusted, and it’s time to evaluate what became of it. Generally speaking, I’m very much in favor of there being a weekend dedicated to formats (which I would, being a format developer by trade). There was reportedly 600 people signed up for this years MIPFormats, but I doubt all showed up at the same time, as I don’t believe there were that many people in attendance at any of the panels I took part of.
I will say that I was slightly disappointed in the lack of fresh-thinking stuff on display during these two days. The winner of the Fresh Talent Pitch was basically dating for seniors, with a bit of elimination and some sexy young bodies thrown in for fun. Not to take away from the creators of that format – I believe it will get produced, and I believe it will get ratings. It’s just doesn’t ooze newness in any way.
Furthermore, the formats that were shown later on in the day under different circumstances – from showcases by big companies to Fresh Format-looks at new stuff – not really much caught your imagination. Just twists on things we’ve seen before (while the Hypno-surgery format was a bit new, I’ll admit that, not that I’d probably watch it…☺ )
Some light
So, you say, do something better yourself then, eh? Yeah, I am trying to. I believe that the next-to-last panel I witnessed, which was the second part of the MIPFormats Interviews sessions – featuring Scott/Ogilvy, Morley/Sony, Brickle/Monterosa and Fenton/Zig Zag – talked the most about where we are heading. Brands are increasingly looking to integrate themselves into content. Producers NEED to look at how to integrate these brands, so that it is done in a natural, logical way and not forced upon the end consumer in the bullyish kind of way we’ve witnessed before.
We all know that the money that was in the TV industries – from the broadcasters that is – isn’t really there anymore. So fresh money needs to come into the game. IMHO this is where transmedia storytelling enters the fray, as this gives any creator a multitude of options to integrate brands into a storyworld, and brands a multitude of options to connect to content that fits in with their core values.
An example
A very simple thought experiment – what if one of the side characters in a television show blogged about her life outside the show? And what if she, in that off-tv life, got a job at a certain brand? That brand could naturally be integrated in the show, and have it’s own, scripted life on the blog. Where it could tie in to real life events; when the character tweets about an upcoming promotional event – the next day the event is launched for real… blurring the lines between real and fiction, and creating engaging content.
I won’t delve further into the takes from the day, as you can see the sessions and read the comprehensive live blog by the competent people of ReedMIDEM and MIP here. Instead, I’ll have a beer and tend to that bloody foot of mine :P
Remember, it is a kindness to buy formats from people with crutches!! ;)
I will say that I was slightly disappointed in the lack of fresh-thinking stuff on display during these two days. The winner of the Fresh Talent Pitch was basically dating for seniors, with a bit of elimination and some sexy young bodies thrown in for fun. Not to take away from the creators of that format – I believe it will get produced, and I believe it will get ratings. It’s just doesn’t ooze newness in any way.
Furthermore, the formats that were shown later on in the day under different circumstances – from showcases by big companies to Fresh Format-looks at new stuff – not really much caught your imagination. Just twists on things we’ve seen before (while the Hypno-surgery format was a bit new, I’ll admit that, not that I’d probably watch it…☺ )
Some light
So, you say, do something better yourself then, eh? Yeah, I am trying to. I believe that the next-to-last panel I witnessed, which was the second part of the MIPFormats Interviews sessions – featuring Scott/Ogilvy, Morley/Sony, Brickle/Monterosa and Fenton/Zig Zag – talked the most about where we are heading. Brands are increasingly looking to integrate themselves into content. Producers NEED to look at how to integrate these brands, so that it is done in a natural, logical way and not forced upon the end consumer in the bullyish kind of way we’ve witnessed before.
We all know that the money that was in the TV industries – from the broadcasters that is – isn’t really there anymore. So fresh money needs to come into the game. IMHO this is where transmedia storytelling enters the fray, as this gives any creator a multitude of options to integrate brands into a storyworld, and brands a multitude of options to connect to content that fits in with their core values.
An example
A very simple thought experiment – what if one of the side characters in a television show blogged about her life outside the show? And what if she, in that off-tv life, got a job at a certain brand? That brand could naturally be integrated in the show, and have it’s own, scripted life on the blog. Where it could tie in to real life events; when the character tweets about an upcoming promotional event – the next day the event is launched for real… blurring the lines between real and fiction, and creating engaging content.
I won’t delve further into the takes from the day, as you can see the sessions and read the comprehensive live blog by the competent people of ReedMIDEM and MIP here. Instead, I’ll have a beer and tend to that bloody foot of mine :P
Remember, it is a kindness to buy formats from people with crutches!! ;)
Saturday, April 02, 2011
MIPFormats Round Up Day One
So, MIPFormats occupies the two days pre-MIPTV, showcasing a lot of up-and-coming formats, discussing format rights and format disputes and during this first day taking a look at the future of the format business in general.
Format Futures
The day started off with a look at the Format Futures 2011, where David Jenkinson from C21 begun with a brief look at which conclusions the C21 Formats Report 2011 had drawn. Amongst the facts – 91% of buyers say they will buy as many formats or more than last year, 60% say they are going to buy more (which is nice if you are selling formats of course). Top three in format genres are thought to be Constructed observational documentary, Expert-led factual entertainment and social network-related formats, while elimination-based reality formats and cooking/food formats are seen to be waning. Happy to see that Finland is thought of as the 6th hottest country when it comes to new formats (behind the US, the UK and Holland, but ahead of Israel and Japan). I’m pretty sure the formats report will be available online at some point, as it was shared to all attendees at MIPFormats, will notify when I know more about that.
The talk featured Karoline Spodsberg from Banijay, Nicola Söderlund from Sparks Network and Jan Salling from Nordic World. Big take-aways from that was Spodsbergs opinion that "We will be moving away from constructed formats to less constructed, more story driven types of formats" (which resonates well with the creation of more transmedia type formats) and Sallings very true take on the questions of rights and revenue splits - "Big challenge is to retain rights for producers; no plug-and-play solution. Need to give more back to producers" (so true, more shares to the one creating will mean that more and better will be developed and produced in the future). There was also a big concern about the consolidation of the business – everything is becoming one big company, so whom should new concepts be pitched to? David Jenkinson wasn’t too concerned - "as companies consolidate, the people that don't like it leave and found new companies".
The session about mediating format disputes was set up as a sort of play where two fictional production companies went head to head regarding two very similar formats. I had to leave the session before the end, but I will echo Mikko Silvennoinens opinion: “Let's discuss real cases please! Come Dine vs Four Star Dinner. Survivor vs Celebrity Get Me Out of Here”. Key point, try to come to some sort of solution and not go to court.
Fresh Formats in the Factual vein
In the Fresh Formats this Saturday (there will be another tomorrow) the focus was on Factual Entertainment. To recap, I will make it easy for myself and copy my tweets from the sessions. Here are the 12 featured formats:
1st format: Shedding for the wedding, from CBS, engaged couples losing weight
2. Coming Soon: Love, 5 single/famous women search for true love (Israel/Endemol)
3. Threesome, where three ppl share a flat and experiment sexually (Norway, DRG)
4. The Joy Of Teen Sex, from Zodiak. Advice on teen sex in walk-in clinic
5. Teenage Boss (DRG, Norway) teenager takes responsibility for family financies for 1 month
6. Hijos de Papa (Plural, Spain) 8 rich kids kicked out, must adjust to tough jobs to manage
7. Working Girls (endemol, UK) lazy ladies (WAGs?) whipped into shape by biz women
8. Junior Doctors (BBC) 7 newly qualified doctors, their 1st month documented
9. Toughest place to be a Paramedic (BBC) ordinary people go abroad to test themselves in hardest jobs
10. Cover Me (2waytraffic) 2 music stars create new hits based on each other's work
11 The House That Made Me (BBC) Celebs back in reconstructed childhood homes
12. You can't take it with you (Fremantle) following families as they prepare wills
All in all, not all that many really exciting formats. I did get the feeling I’ve seen most of them before, in one take or another. The Threesome and Teen Sex ones were slightly interesting, but then again they would, wouldn’t they?
The Freshest of Talents
The Fresh Talent Pitch was the last session I went to, where six formats had been chosen by The Wit to be presented to a jury consisting of Anniea Wegelius from SVT/Sweden, David Lyle from Fox Look and Colin Jarvis, formerly BBC. The six formats were BuS STOP from Spain, Crossword is coming to town (Germany), Dracula Tour Challenge (Romania), My Baby's Name (France), On the Wave of Love (France) and Queen of Style (Germany).
Of the six formats the Dracula one was the one with the richest story possibilities. I believe it didn’t win mainly since it was not really thought through to the end – there is a great backdrop, but the icing on the cake (and parts of the filling as well) just aren’t there yet. I’m convinced it will get made though, just need some more work. Bus Stop was a dating format based around a bus driving to different cities – definitely needs some work – while Queen of Style had “possibilities in any direction” (which is never a good thing to say in a pitch, as a potential buyer can think in a lot of directions and, like most people, dislikes to be confused, especially in a business meeting) which probably was it’s downfall in this competition.
My Baby’s Name had a complex game setup that I didn’t quite get – about guessing the name of an unborn child – and didn’t feel quite thought through either. As Colin Jarvis said, he thinks it may be better as just a part of another show. Crossword is coming to town was about painting a giant crossword on a town square and have a team try to solve it, with the help of the town’s population. It was a good public service-minded idea, and rightfully won the creator, Uwe Stanz, the Entertainment Masterclass scholarship. Nice one!
The winner then, was a French format called “On the wave of love” from NeweN. Seniors have a right to love too! So they are put on a cruiser with five suitors each, and one is eliminated in every harbor. Tricky things pop up as well – Mystery Suitors for instance, and the fact that the crew on the ship are sexy little young things (male and female) that can try to woo the seniors as well. Now, I don’t know if I would watch it, but as the jury also obviously saw, it does have potential. So, congratulations!
The last word
More tomorrow, but as a conclusion, and having been banging on about the powers of transmedia storytelling (and blogging for ReedMIDEM today on the possibilities of transmedia formats) I will say that I’m not surprised there are no transmedia formats on display. Not surprised, but I would have liked to be surprised by there being some. Perhaps ours are featured next year ;).
Until tomorrow!
Format Futures
The day started off with a look at the Format Futures 2011, where David Jenkinson from C21 begun with a brief look at which conclusions the C21 Formats Report 2011 had drawn. Amongst the facts – 91% of buyers say they will buy as many formats or more than last year, 60% say they are going to buy more (which is nice if you are selling formats of course). Top three in format genres are thought to be Constructed observational documentary, Expert-led factual entertainment and social network-related formats, while elimination-based reality formats and cooking/food formats are seen to be waning. Happy to see that Finland is thought of as the 6th hottest country when it comes to new formats (behind the US, the UK and Holland, but ahead of Israel and Japan). I’m pretty sure the formats report will be available online at some point, as it was shared to all attendees at MIPFormats, will notify when I know more about that.
The talk featured Karoline Spodsberg from Banijay, Nicola Söderlund from Sparks Network and Jan Salling from Nordic World. Big take-aways from that was Spodsbergs opinion that "We will be moving away from constructed formats to less constructed, more story driven types of formats" (which resonates well with the creation of more transmedia type formats) and Sallings very true take on the questions of rights and revenue splits - "Big challenge is to retain rights for producers; no plug-and-play solution. Need to give more back to producers" (so true, more shares to the one creating will mean that more and better will be developed and produced in the future). There was also a big concern about the consolidation of the business – everything is becoming one big company, so whom should new concepts be pitched to? David Jenkinson wasn’t too concerned - "as companies consolidate, the people that don't like it leave and found new companies".
The session about mediating format disputes was set up as a sort of play where two fictional production companies went head to head regarding two very similar formats. I had to leave the session before the end, but I will echo Mikko Silvennoinens opinion: “Let's discuss real cases please! Come Dine vs Four Star Dinner. Survivor vs Celebrity Get Me Out of Here”. Key point, try to come to some sort of solution and not go to court.
Fresh Formats in the Factual vein
In the Fresh Formats this Saturday (there will be another tomorrow) the focus was on Factual Entertainment. To recap, I will make it easy for myself and copy my tweets from the sessions. Here are the 12 featured formats:
1st format: Shedding for the wedding, from CBS, engaged couples losing weight
2. Coming Soon: Love, 5 single/famous women search for true love (Israel/Endemol)
3. Threesome, where three ppl share a flat and experiment sexually (Norway, DRG)
4. The Joy Of Teen Sex, from Zodiak. Advice on teen sex in walk-in clinic
5. Teenage Boss (DRG, Norway) teenager takes responsibility for family financies for 1 month
6. Hijos de Papa (Plural, Spain) 8 rich kids kicked out, must adjust to tough jobs to manage
7. Working Girls (endemol, UK) lazy ladies (WAGs?) whipped into shape by biz women
8. Junior Doctors (BBC) 7 newly qualified doctors, their 1st month documented
9. Toughest place to be a Paramedic (BBC) ordinary people go abroad to test themselves in hardest jobs
10. Cover Me (2waytraffic) 2 music stars create new hits based on each other's work
11 The House That Made Me (BBC) Celebs back in reconstructed childhood homes
12. You can't take it with you (Fremantle) following families as they prepare wills
All in all, not all that many really exciting formats. I did get the feeling I’ve seen most of them before, in one take or another. The Threesome and Teen Sex ones were slightly interesting, but then again they would, wouldn’t they?
The Freshest of Talents
The Fresh Talent Pitch was the last session I went to, where six formats had been chosen by The Wit to be presented to a jury consisting of Anniea Wegelius from SVT/Sweden, David Lyle from Fox Look and Colin Jarvis, formerly BBC. The six formats were BuS STOP from Spain, Crossword is coming to town (Germany), Dracula Tour Challenge (Romania), My Baby's Name (France), On the Wave of Love (France) and Queen of Style (Germany).
Of the six formats the Dracula one was the one with the richest story possibilities. I believe it didn’t win mainly since it was not really thought through to the end – there is a great backdrop, but the icing on the cake (and parts of the filling as well) just aren’t there yet. I’m convinced it will get made though, just need some more work. Bus Stop was a dating format based around a bus driving to different cities – definitely needs some work – while Queen of Style had “possibilities in any direction” (which is never a good thing to say in a pitch, as a potential buyer can think in a lot of directions and, like most people, dislikes to be confused, especially in a business meeting) which probably was it’s downfall in this competition.
My Baby’s Name had a complex game setup that I didn’t quite get – about guessing the name of an unborn child – and didn’t feel quite thought through either. As Colin Jarvis said, he thinks it may be better as just a part of another show. Crossword is coming to town was about painting a giant crossword on a town square and have a team try to solve it, with the help of the town’s population. It was a good public service-minded idea, and rightfully won the creator, Uwe Stanz, the Entertainment Masterclass scholarship. Nice one!
The winner then, was a French format called “On the wave of love” from NeweN. Seniors have a right to love too! So they are put on a cruiser with five suitors each, and one is eliminated in every harbor. Tricky things pop up as well – Mystery Suitors for instance, and the fact that the crew on the ship are sexy little young things (male and female) that can try to woo the seniors as well. Now, I don’t know if I would watch it, but as the jury also obviously saw, it does have potential. So, congratulations!
The last word
More tomorrow, but as a conclusion, and having been banging on about the powers of transmedia storytelling (and blogging for ReedMIDEM today on the possibilities of transmedia formats) I will say that I’m not surprised there are no transmedia formats on display. Not surprised, but I would have liked to be surprised by there being some. Perhaps ours are featured next year ;).
Until tomorrow!
Friday, April 01, 2011
TransMIP 2011 - a first look
Tomorrow sees the kick-off for a week of MIPness in Cannes, France. Leading out are two quite different events: MIPDocs is focused on documentaries, and is an established part of the MIPTV setup, where producers and buyers sell and buy a multitude of documentaries over the course of two days. I am not registered for MIPDoc, so even though I would be utterly surprised if not a large part of the documentaries featured could (and perhaps should) have a developed transmedia side to them, I will not be able to comment in detail.
MIPFormat, on the other hand, is merely a year old and already branching out over two days, not one as was the case last year. The format business is reportedly worth upwards of 3 billion euros now, which makes formats a viable part of any discussion around the media industry. Transmedia formats are still few and far between, but this is something I convinced will change in the near future. One featured session is the Fresh Talent Pitch, where a number of chosen formats are pitched to the attending crowd. Amongst the finalists are formats such as Dracula Tour Challenge, which simply feels made to be transmediated. From the description of the format:
There are a number of interesting talks during MIPFormats, many who have some connection to transmedia, be it about rights and disputes or creative workshops. But we have to wait until Monday and MIPTV before transmedia is really on the agenda.
At a talk called ”Transmedia Storytelling: How to Achieve Creative Excellence?” Jesse Cleverly from Connected TV moderates a panel with, amongst others, Nuno Bernardo (beActive), Tracy Robertson (Hoodlum) and Christopher Sandberg (Company P) in a session that will ”talk through their strategic thinking, their creative development philosophies, and their multidisciplinary production processes.” I can see many ways this panel could go, but I dearly hope, from an admittedly personal POV, that it will go in-depth on development and design matters.
Hot on the heels of that panel will be a screening of the four finalists of the Fremantle/RTL Content 360 category ”Interactive & Cross-Media Digital Entertainment Formats”. I have no idea what to expect from this, but one can always dream of a quartet of beautifully crafted transmedia formats that take your breath away, right?
There’s a slew of other interesting talks and panels as well, of course – like ”Monetising Content on New Platforms” or ”Multiplatform Engagement Through Apps” or why not “Connecting to Tomorrow's Audiences”. All of these have the potential to not only touch on transmedia but go a lot deeper into that sphere (which should be normal, as that would help keep content and story world in line etc etc). At the very least I expect to get a lot of interesting notions and hints that I can take back to my drawing board after MIP.
There is also the MIPCC, the Connected Creativity, happening at the same time as the ”regular” MIPTV. Here I’m hoping to hear more about mobile, apps and their ties in to the television industry. A highlight will be Gavin McGarrys wrap-up session on ”Building Cross-Media Strategies” on Thursday.
So, be warned, there will be a lot of tweets coming from MIPTV in the coming week. If you decide to unfollow precisely because of these tweets, do refollow back in a weeks time, ok? ☺
MIPFormat, on the other hand, is merely a year old and already branching out over two days, not one as was the case last year. The format business is reportedly worth upwards of 3 billion euros now, which makes formats a viable part of any discussion around the media industry. Transmedia formats are still few and far between, but this is something I convinced will change in the near future. One featured session is the Fresh Talent Pitch, where a number of chosen formats are pitched to the attending crowd. Amongst the finalists are formats such as Dracula Tour Challenge, which simply feels made to be transmediated. From the description of the format:
«Dracula Tour Challenge» is an adventure competition show in which foreign participants are brought to Transylvania to confront the myth of Dracula and the evil spirits that lurk in this land. The purpose of the show is two-fold. One, to create an entertaining, frightening and thrilling competition for viewers. And two, to provide a unique history of vampires, Dracula and other mythical monsters that originated in this extraordinary area.Now, what storylines could not be spun from this story world? We’ll see what happens with the format.
There are a number of interesting talks during MIPFormats, many who have some connection to transmedia, be it about rights and disputes or creative workshops. But we have to wait until Monday and MIPTV before transmedia is really on the agenda.
At a talk called ”Transmedia Storytelling: How to Achieve Creative Excellence?” Jesse Cleverly from Connected TV moderates a panel with, amongst others, Nuno Bernardo (beActive), Tracy Robertson (Hoodlum) and Christopher Sandberg (Company P) in a session that will ”talk through their strategic thinking, their creative development philosophies, and their multidisciplinary production processes.” I can see many ways this panel could go, but I dearly hope, from an admittedly personal POV, that it will go in-depth on development and design matters.
Hot on the heels of that panel will be a screening of the four finalists of the Fremantle/RTL Content 360 category ”Interactive & Cross-Media Digital Entertainment Formats”. I have no idea what to expect from this, but one can always dream of a quartet of beautifully crafted transmedia formats that take your breath away, right?
There’s a slew of other interesting talks and panels as well, of course – like ”Monetising Content on New Platforms” or ”Multiplatform Engagement Through Apps” or why not “Connecting to Tomorrow's Audiences”. All of these have the potential to not only touch on transmedia but go a lot deeper into that sphere (which should be normal, as that would help keep content and story world in line etc etc). At the very least I expect to get a lot of interesting notions and hints that I can take back to my drawing board after MIP.
There is also the MIPCC, the Connected Creativity, happening at the same time as the ”regular” MIPTV. Here I’m hoping to hear more about mobile, apps and their ties in to the television industry. A highlight will be Gavin McGarrys wrap-up session on ”Building Cross-Media Strategies” on Thursday.
So, be warned, there will be a lot of tweets coming from MIPTV in the coming week. If you decide to unfollow precisely because of these tweets, do refollow back in a weeks time, ok? ☺
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