Nov 272013
 

I was invited to present a keynote, of sorts, at the Merging Media 2013 conference – a short and sweet two day conference featuring many great topics and good international speakers with a focus on the business/production side of multi platform but also the more usual esoteric aspects of transmedia and inherent community thinking. My talk was originally going to be a show and tell of all the new opportunities afforded to us by mobile, social & always-on networks, eye-candy with a chunk of futurist ‘my how the world is changing’ – but I decided to turn it more into a ‘what makes a compelling experience’ combined with ‘state of the industry (covered in my previous post)’ combined with a ‘process approach to creating service’,  talk instead – with a little of the navigating the new landscape for good measure. So waaay too much in the time allotted, but at least this article has room to breathe :)

I hope I give a flavour of the talk below. I believe Merging Media will be making videos available too – which I won’t be able to watch as I rushed the latter part :(. The first part was actually partly scripted so that made it easier to copy some of that below the slides but there is much much more afterwards with lots of embedded media, I think there is a flow in the post. Obviously the slides only tell a quarter of the story so read on or skip the slides…

Hello and thanks for inviting me to keynote here in wonderful Vancouver. Being one quarter French Canadian I do feel a little affinity with some of you, and have enjoyed a little time exploring & capturing the environment in the two days prior to this conference. But moving on let me apologise. I have struggled hard to find an innovative new theme, any new jewels of wisdom for you to ponder and apply to your own projects. So much in the transmedia arena has been talked about, theorised and postulated as the journey has only just begun. Perhaps the journey through the presentation itself may throw up some nuggets?. The media and storytelling environment in still in major transition and I and nobody else really knows where we are going, all I can do is prepare myself and others for this change. But first:

An Organic Multiplatform Transmedia Experience?

house
This is where I live at the moment and where, I believe, I had a compelling multiplatform experience. It was about two weeks ago. It involved personal life and death decisions, it involved loved ones, friends who lost everything, physical exertion, quests and games, feeling part of and working with a community, rich information, lots of information, the authorities, the law, anxiety, stress, stories of loss and heroism and making profound choices.
Jul 062012
 

001_Darwin Walkabouts Pt 4 Litchfield National Park

I was invited to present to a small public group last month on Media Futures up in the Northern Territory here in Australia – this followed an ABC only presentation. I generally don’t do the Futurist thing, I feel uneasy, stepping into tarot, astrology or doom sayer territory, where many factors such as user behaviour, new devices or new format/marketing development are on unpredictable shifting sands. So I prefer to call my approach to future ‘no brainer’ism’. There are some things that are so obvious, in terms of where we are heading, that simple trends analyses will give us some clarity in around a 2-5 year timeframe.

I will let my long 2 hour (130 slide!) presentation speak for itself below but the premise felt pretty unremarkable from my perspective. I am worryingly developing a rather ‘elder-like’ “nothing-new-under-the-sun” attitude. Also some predictions are just too obvious. Making the jumps from smartphones to wearable computing to bionic connectivity to singularity is not what I am talking about here, but a much more near term ‘what will most of us be doing in a few years time’ – but several at the presentation apparently still had their minds blown!? I think that ailment is treatable.

The spine of the rather winding narrative arc was some simple trend extrapolation across four of the key themes and asking questions about their trajectories:

  • Social Share & Online Connection – What is the end result of ‘society’ existing mostly online?
  • On-Demand TV & Everything Else – What does it mean if appointment to view goes away, do we need to learn if everything is on tap, will a million digital campfires light up the landscape?
  • Mobile & Locationalism – We carry the world with us. But what happens when the digital world is layered over the real world?
  •  Transmedia & Content Everywhere – There are no device boundaries. When content is truly free to move across every device, will all our, stories our life memories follow us across our personal media channels?

So on with the show. Predicting Present Futures – a title really based on Marshall McLuhan’s observation

“I don’t know who discovered water, but it wasn’t a fish”

Gary Hayes, Futurist and New Media Evangelist – The media and storytelling landscape is constantly changing but in the last six years we have never seen such monumental change. Gary takes us on a journey from the old days of new media through to the very near future using current examples of the work in ABCs Multi Platform TV team through to other cutting edge examples of Augmented Reality, Transmedia, Social Media Storytelling and Games.
Gary Hayes, an award winning multi platform producer, is currently executive producer at ABC Multi Platform TV and also directs transmedia training unit StoryLabs.us. Throughout his extensive career he has worked across the UK music and multimedia industry including the development of the internet, interactive TV and cross platforms for the BBC. He is a regular keynote speaker, consultant producer in social & transmedia to the TV, Film and Arts industries. He has also been an International Interactive Emmy juror for the past three years. His media innovation blog personalizemedia. com has been in top 10 Media & Marketing for over 2 years and he runs 11 other sites linked from garyphayes.com.

Date: Sat 16 June
Time: 10am – 12pm
Venue: Browns Mart Theatre 12 Smith St, Darwin

Jan 012012
 

Originally published Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 4 of 5

Image by Gary Hayes

When planning your next holiday to London with the fam, don’t forget to sync up your iGlasses and load up the London experience packs. On arrival, slip on your augmented reality sunglasses and take a look around: Roman-era London appears before your eyes. Slaves and gladiators walk through the streets and chariots rush past. You can add your own comments leaving virtual “We Were Here” graffiti for all time. The experience is part documentary, part user-generated narrative, and entirely pervasive. In other words, augmented reality meets living history.

In our everyday lives, we engage with stories in many ways, whether it’s eye-to-eye contact with a stranger that sparks an instant connection or a well-crafted movie or TV show. But what if we started experiencing those stories in the outernet’s layers?

While online networks are evolving traditional entertainment, such as TV and web series, we are also witnessing the rise of a new form of media called “augmented reality storytelling.” I’ve dubbed this new form of diversion ’ntertainment, as a shorthand for immersive augmented reality entertainment.

At its broadest level, augmented reality is about enhancing the physical world through digital elements, such as images, sound, and information. Now technology is enabling us to further situate and layer our digital stories in places where other narratives can’t reach. Right now, we see this happening when someone holds up a camera on an iPhone or tablet and shares objects or stories from the real world.

The opening Roman London example is based on an existing service called Londinium, which is a collaboration between the History Channel and the Museum of London using augmented reality video layered over real-world streets to re-create an alternate history. Coincidentally, London is also used as a site in the globe-spanning Ghost Tours 2.0. Haunted London encourages visitors to explore the city’s eerie side using locative AR (augmented reality). Likewise, another situated project is Witness, which draws participants into the dramatic and seedy underbelly of criminal Berlin. In this case, players are the hero: They watch graphic video scenes at different city locations and are then sent detective challenges to uncover the truth. But here’s the twist: The story might just bite you back! Augmented reality games and stories can even get physical, like the recent example of Chelsea FC playing the world’s largest Space Invaders game in a stadium using projection AR.

Gaming is leading the way. New consoles, like Vita, allow users to literally take game characters orreality fighters into the streets. Other gaming advances like AR games on Nintendo’s 3DS start to recognize place markers placed around a player’s city, transforming screen-based MMORPG(massively multiplayer online role-playing games) into an LMMOG (location-based massively multiplayer online games).

Augmented reality storytelling is starting to appear across our smart GPS mobile devices. Several marketing campaigns are taking the initiative by spearheading real-time AR challenges, such as Vodafone’s Buffer Monsters, which challenged German smartphone users to download a mobile app to capture virtual creatures and win a lifetime plan. This is only one example, other AR advergames encourage users to competitively run around cities on scavenger hunts for real-world prizes, such as the Droid Bionic AR Game. Similarly, this October, Gundam, the Japanese anime giant, release an iPhone/iPad app called Gundam Area Wars. The game uses the devices’ camera and gyroscopic sensors to show life-size 3D models situated in the player’s real-world landscape.

Given these above examples, I return to my earlier travel scenario and I wonder how commonplace it will become for people arriving in a new location to start experiencing it through augmented reality storytelling and gameplay? The traditional guidebook has already morphed into digital form. The Lonely Planet is already a downloadable app. Is it a big jump to imagine AR and location-based storytelling won’t soon allow travelers to engage history on a whole new level? One might even argue a deeper and more meaningful one than just the 2D sightseeing experience of looking at crumbling ruins. So many guidebooks have been written on the principle of making history come to life—AR actually makes it possible.

One could even take this one step further and question, why do we need to travel at all when we have our own personal Holodecks at our fingertips? Fast Company recently reported on Tour Wrist, a virtual tour that lets iPad users move around a global location with unlimited zoom and freedom. “Travelers” are virtually transported to that place and able to immerse themselves in it becoming the hero in a remotely situated, digital storyworld.

Finally, in the near future, we might all have the capability to create duplicates of our surroundings in 3D for others. This Microsoft R&D initiative to map the world uses the fastest selling piece of tech on the planet, the Xbox Kinect. This would allow everyday people to create unlimited user-generated 3D AR—foreseeable as easily as snapping a digital picture. In addition to this, there is a saturation of location-stamped social stories inside services, such as Google Earth, TagWhat, HistoryPin, Facebook Places, CheckIn+, Foursquare, and Gowalla, among others. What will result from all these stories becoming interconnected and navigable using AR devices?

From that point on, we will be co-creating an augmented entertainment eternity. Together. Will you be a part of it?

Dec 312011
 

Originally published Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes

Image by Gary hayes

Grab some nibbles, pour yourself a drink, and sit down. You’re now ready to immerse yourself in a TV show. And then you notice that CSI Miami is placing Facebook photos of your aunt, uncle, and cousins onto the desk of a perp. Lean forward, and keep your eyes peeled, updates from your Facebook page are about to be incorporated into your favorite TV show’s narrative. (Your best friend becomes the suspect!) As you immerse yourself in the story, the story immerses itself in your social world. In this context, online meets offline and your family and friends will never look the same again!

While this opening scenario sounds like pure fantasy, it’s not. It’s actually based on Warner Brother’s Aim High, an upcoming web series that will integrate pictures, music, and information from a viewer’s Facebook page into the video. One might call it the ultimate transmedia vanity blockbuster, where viewers are watching and playing with their own distributed, but connected story fragments. If this trend continues, soon we’ll be interacting with TV and games mashed up with our own social networks on big and small screens everywhere.

Since 2003, tools that allow people to easily create, upload, and share personal content are now commonplace. With so many people sharing their lives through networks, there is a social story revolution unfolding. There are more photos taken every two minutes today than during the entire 1800s and, as my Social Media Counter shows, most of this new content is created by individuals who used to be called the audience.

Since the late ’90s, the vision of interactive TV has been to meld this viewer-generated content into shows, particularly live TV. Today, we are taking the greatest evolutionary steps in broadcasting since the advent of live TV. In my presentation, “The Gamification of Social TV,” I examine the ways audiences are becoming more and more integrated into media, such as shows, films, games, and live events; first, there is the social level, then the participative, and finally, the inclusive.

Real-time conversation about what’s happening on TV has pretty much been with us since the beginning of mass TV in the ’50s. However, nowadays we have advanced well beyond the cord-tethered telethons of yesteryear. Today, advanced technology, like text voting, allows shows to measure the sentiment of the crowd sitting at home, not just the studio audience, in real time.

Andy Warhol famously predicted, “In the future, everyone will be world-famous for 15 minutes.” That future has arrived: We can all be stars in our own lifetimes, even if it’s just among our social network. We have become our own entertainment hubs, around which our friends and media circulate. Broadcasters and service providers have caught on to this trend, and now, entertainment-based social networking websites, like GetGlue, allow viewers to check in to movies, TV, and music. These personalized hubs fueled by recommendation and loyalty are allowing viewers to lock their worlds to TV space.

Not surprisingly, marketers are also taking notice of the advantages presented by social storytelling. A recent example is the Rommy Gulla Facebook video campaign run by Panasonic Australia. To demonstrate a new Blu-ray recorder’s ability to store 28 full days of HD content, the company developed a Truman Show-esque, promotional Facebook campaign encouraging input and social sharing.

Other online services, like Hulu, are also allowing users to bring media directly to their networks and take root inside Facebook itself, creating a forum for friends to share video content seamlessly. At the other end of the spectrum, there are options like Beckinfield Mass Participation TV, which takes social media to the nth degree by inviting users to film themselves as the stars and extend the web show format. This concept borrows from the realm of social alternate reality games, such as a World Without OilTruth About Marika, or Conspiracy for Good, which have been allowing users to write themselves into scripts and become the activist hero for quite some time now. Social media storytelling has deep roots in multiplayer role-playing gaming; in fact, the fastest growing game on Facebook at the moment is Sims, the $4 billion franchise game, where players inhabit and merge with social experiences in an alternate character-driven world.

Is alternate character acting the future? The film industry is not far behind in embracing social films. Earlier this year, Toshiba, Intel, and their ad agency Pereira & O’Dell took a gamble onInside, an interactive film experiment starring Emmy Rossum directed by D.J. Caruso. Now some people are speculating about whether or not social films are the next big thing in Hollywood. Will we see a social film revolution where plot dilemmas are handed over to the audience to experience and solve?

When it is done well, traditional storytelling married to social media is very powerful: It takes those people who want to go beyond a behind-the-scenes DVD extra into the story. While we watch to see if integrated social media entertainment will really take off, there are still some issues to consider, such as, is it invasive for characters from shows to enter an individual’s social networks? and Can a TV blockbuster become too personal?

That said, for now, I’m off to watch an episode of House, where I’m the patient!

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