transmedia lab

Photographie Olivier Godest

Transmedia Lab organise le 8 mai 2010 à la Cartonnerie un nouveau Barcamp dédié aux contenus transmedia !

Après le succès rencontré de ce 1er barcamp l’été dernier où nous avions réalisé que nous n’étions pas les seuls à avoir des envies de création transmedia dans la tête, le Transmedia Lab vous invite chaleureusement à venir participer à ce 2nd opus qui se déroulera le samedi 8 mai 2010.

Ce workshop informel est ouvert à tous et prendra place dans un lieu singulier de Paris : la Cartonnerie. Cela sera l’occasion de vous rencontrer ou de vous retrouver, de nouer des relations et de faire progresser les débats sur le transmedia. L’objectif est de partager et de réfléchir sur les problématiques du transmedia et notamment sur le thème suivant :

Projets transmedia, comment passer du développement à la production : les nouvelles sources de financement, le rôle des marques, la co-création avec les diffuseurs.

Le nombre de places étant limité, nous vous invitons à vous inscrire rapidement par email à l’adresse contact@transmedialab.org ou sur l’une des pages Web dédiée à l’événement.

Plus de renseignements sur ce Barcamp sont également disponibles sur :

http://barcamp.org/transmedialab

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A très bientôt !

L’équipe Transmedia Lab

Amaury Boulanger, responsable marketing. Transmedia Lab.

Le MediaClub nous a conviés le mercredi 20 Janvier 2010 à un petit déjeuner atelier, voici son feedback de cette belle rencontre :

“Comment concevoir un projet réellement transmedia ?”.

Grâce à la participation de Nicolas Bry (Directeur du Transmedia Lab, Orange Vallée), de Marc Guidoni (Producteur, Fondivina) et Jean Yves Le Moine (expert de la convergence entre la technologie, les contenus et les usages) nous avons pu échanger autour des méthodes et de l’expérience du Transmedia Lab d’Orange.

Une belle initiative et excellente occasion de découvrir le Transmedia Lab, initié par Orange pour favoriser l’émergence d’histoires transmedias, accompagnant les nouveaux usages des spectateurs sur la combinaison d’écrans à leur disposition. Cette structure se présente comme un atelier d’exploration ouvert à tous les acteurs du monde de l’audiovisuel, du jeu vidéo et des nouvelles technologies. Vous avez été très nombreux à participer à ce débat sur un sujet incontournable pour l’avenir de l’audiovisuel et des médias.

Nous tenons particulièrement à remercier le cabinet KGA pour son accueil lors de cet événement.

Vous pouvez retrouver les photos de ce petit déjeuner ici“

Christophe Cluzel, chef de produit. Transmedia Lab.

Today, the audience’s behavior has become versatile. Depending on its desire, interest and time, its degree of immersion into the story changes.

The elements of a transmedia project

Transmedia writing consists of creating a universe with several entry points where the audience can immerse itself and interact. These different entry points can mix reality and fiction and complement each other on different media such as internet sites, blogs, cell phones, mini-games, TV series and ARG (Altered Reality Games). The goal is to get the audience to participate, to get immersed in the universe created and, in the end, to become one of the actors (concept of the Rabbit Hole).

(more…)

Think different…

Transmedia begins in our heads, in our way of working, of building our crews, of making deals… All the steps have to be opened up…

Financing projects is going to become more complex.

The classic economic model of a content producer rests on the pre-financing brought in by different broadcasters in exchange for a certain exclusivity. However, the digital habits of 2.0 are exactly the opposite…

With Transmedia, in order to maintain his rights, the producer must have a large number of micro-financings. Documentary producers already know how to construct these complicated financing schemes. Example: “The end of the line” on Channel 4 (here), a very complex financing with money coming completely from non TV sources: sponsoring, branding, NGOs, etc… “Home” was also financed 80% through patronage.

- Creating a new skill…

Financial aggregators… Who will acquire this skill first? Producers? Broadcasters? Advertisers? Agencies? New players that are yet unknown?… If they don’t want this opportunity to re-balance their relationships with the rest of the economic players slip by, producers will have to be the first to find the right business models… Could we imagine them associating in order to create, from nothing, a new way to share? Think of Univercine for VOD.

- Advertising has to make its cultural revolution…

Advertising has to reinvent itself to be more “intelligent”, not an aggressive caricature and not intrusive. The public’s exposure to advertising has to be organized in time: it’s a re-distribution of the cards since in the classic model, broadcasters are the only contacts for advertisers and advertising agencies. By entering this territory, producers can be seen as poachers in their private hunt… Think of the complexity and imagine a ménage à 3, 4, 5, 6 etc…

- Emerging cooperation…

The big integrated media groups will have to accept that producers incorporate financings from competing groups, which will, for a particular program, become partners connected to the project. It would be absurd for the “old” logic to prevail, such as forbidding a producer working with TF1 but whose project doesn’t interest Bouygues Telecom for the 3G part, to go negotiate with SFR or Orange…

Macroeconomic Competition + Punctual Cooperation = Coopetition

Producers have a lot on their plate, but they’re not the only ones…

Producers will have to be much more competent, like in the US or the UK, take an interest in the writing, the artistic dimension… Marketing the film from the beginning is a good way to start reflecting and learning, even if the part that requires reinventing comes later on, in the writing itself. How to find the writing skills to invent transmedia universes? And once they’ve been found, how do we finance their development?

The landscape is changing for everyone… The sector is very fragmented today, maybe we must prepare for a re-consolidation down the line. Whatever may be, it seems crucial to work together, to build associations… Te remember that Endemol was nothing before it became the giant that we know today… The wind can rapidly change.

What about paper?

Transmedia can also extend to paper media: example of “Death Radio”, a transmedia book… www.deathradio.fr

S. Gaultier: 80% of 8 to 14 year olds watch television and surf the Internet at the same time (source ABC+/3D2+ July 2008 ). The new generations consume media simultaneously, they are multi-screen. What kind of programs should we offer this new generation? Transmedia offers the idea of a combined media consumption, but not necessarily a simultaneous one. Crossmedia suggests a multi-screen consumption conceived either one media at a time, either simultaneously. 3D2+ develops virtual worlds where it’s possible to create television shows. The audience sees what’s going on in the virtual world…in which it’s probably participating!

E. Coleman: These days, kids love what “grown-ups” consume. They’re always flicking. They’re attached to content, not channel. Television remains their medium of choice, followed by videogames and the Internet. They have a very rigid activity structure during the day (get up, go to school, eat, homework, fun…) and often, limited leisure time (parental intervention), but a very “free” media consumption (across all media). On the Internet, they’re very present on social networks such as MSN or Facebook. What can that mean for the creation of Transmedia programs? What kind of presence can social networks have in the audiovisual creation? (more…)

A concrete presentation of ARG/ERG through the case of Breathe (a project by Yomi Ayeni in London) and two projects by Caroline Gerdolle.

Questions on games mixing reality and fiction and the importance of maintaining the confusion between the two dimensions in order to keep a permanent effect of surprise and ambiguity. It’s the idea of creating something that’s real even though it’s fake.

Question on how to manage the expectations of the players that might feel slighted when they realize that they’ve embarked into a fictional world that they didn’t suspect.

The notion of game and the issues at stake, the involvement of the audience and the authors: to the difference of the fixed situation of the relationship in a linear story (feature film), the involvement in an ARG can vary in depth depending on the moment and the availability of the audience/actor.

ARG Breathe

Are they really fictions? Is there a real freedom in the writing, a fictional quality? What’s the status of the author?

Notion of the Rabbit hole: ARG has holes where one can fall like in “Alice in Wonderland” and tip over into a new dimension where what is fake is accepted as real.

The parallel with a new dimension of role-playing games.

Audience members have become image experts and are very demanding on the dramatic quality and surprise of the offer. (more…)

Something happened this Saturday August 29^th…

We came and we realized that we weren’t the only ones with the desire to create transmedia in mind: there were 90 others, on a Saturday, at the end of August, at this first Transmedia Lab!

Coming from multiple horizons, we embodied the crossroads that is transmedia, with creators of different disciplines, analysts of different practical uses, going from a desire to see to a desire to participate, according to the terminal and the context, actors of technologies seen from the angle of pleasure, interactive opportunities and the broadcasting possibilities that they create, producers, broadcasters, etc…

Photographie Olivier Godest

By telling our stories (serial killers to fairy tales, documentaries, video games, ARG…), by asking ourselves questions on the evolution of narration, on the non linear paths that we could offer our audiences, on the inclusion of gaming and participation, on the complementary skills that had to be incorporated, by analyzing the impacts on the network of channels, by sharing experiences, emotions, by listening, each was able to see a competent, benevolent and active network being created, that will be able to contribute to the answers. Mash-up, letting go, uncertainties, transmedia is rich with complexity!

I salute the work of our moderators, completed by the implication of each and every one, this is a great example of collective intelligence and very promising in terms of the cooperative work we can look forward to in the call for submissions!

Let’s stay aware, multiply the conversation, let’s catch the wind that will carry the different transmedia ships. Let’s enjoy the journey, which is as rich as the destination. Each one will trace his path and we won’t all have the same destination, but Transmedia Lab is committed to creating the next points of stop for us to reunite.