From beginning to end, a transmedia storytelling should be a social experience, one which draws people together and unifies them through shared and common experiences.
Audience Development allows the Entertainment producer to connect directly with its indented audience. It’s being used extensively in the last couple of years, from independent movies that have a companion web site and a Facebook Fan page, to the multi-million dollar interactive experience that involve games, web sites and live events. What all these projects have in common is the desire of their producers to engage an audience using digital and social media tools.
Even though there are broad stroke components that you can point to that describe successful transmedia properties, there is no definitive formula of, say, three parts narrative divided by three digital platforms and multiplied by two parts social media, which will yield a guaranteed success. What works for a particular project or audience may not work […]
The concept of transmedia production, as both a creative template and business model, is by no means a novel one. Cinema pioneers began to experience a cross-media approach to storytelling 100 years ago, but today’s audiences are in a position to choose the content they want, when they want and on the device of their choice. In other words, the expectation contemporary audiences presume you’ll meet is; any content, anywhere. In the context of a shrinking market populated by increasingly fragmented audiences, transmedia storytelling provides a viable alternative to the conventional TV and Film production business.
It’s all about Transmedia Storytelling, Marketing, Participatory Media and Convergence. Every producer aspires to design an entertainment brand that can grow into a pop icon, a brand whose storyworld or hero has enough creative potential to power spin-offs and reboots, theme park rides and acres of merchandise. So how can independents achieve this degree of success if they don’t have a hundred million dollars to spend on a marketing campaign or the time to gamble on a viral video or game?
Every producer aspires to design an entertainment brand that can grow into a pop icon, a brand whose storyworld or hero has enough creative potential to power spin-offs and reboots, theme park rides and acres of merchandise.
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