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Sep 042012
 

Was invited to be on some panels and do a keynote at an ABC mini conference. It was called Radio Beyond Radio and had a focus on new ways to tell stories, ideally audio/radio driven. But there was a personal tension, wearing three hats simultaneously, particularly delivering the keynote. One hat coming from and representing TV Multi Platform , another wanting to be progressively multi media and strategic, to go beyond the ‘now’ and finally a 3rd hat, personally as an experimental audiophile – and just show a bunch of ‘cool’ multi platform audio projects. But in the end I decided to mostly stay above just pulling out sparkly toys or remain tightly aligned to near term TV services and try to answer the age old question – what is the real value in doing anything beyond the linear. What follows is my slides and below an approximate transcript of my talk.

Alchemy

Hello – thanks for inviting me to speak at this weeks event. My talk this morning explores the hybrid world of multi platform storytelling and I hope justifies why all creators need to be involved.vThere is something magical afoot. Alchemy defined as “any magical power or process of transmuting a common substance, usually of little value, into a substance of great value”. Sublime new ways to deliver stories across media channels. Alongside this we have basic chemistry. A science rather than an art. Using tried and tested formula, rinse and repeat digital.

The Transmedia Value Proposition.

Is it just about numbers or deeper engagement? Is it about support for linear properties or truly about how users influence and resonate with stories? Is it about creating loyalty, building communities, telling stories in cool ways, making money, reach, promotion, transformation, or all of the above? Multi platform falls into two simple camps. One. Last minute digital wrappers to help promote or support a linear property or Two. Something that exists on its own, isolated, limited reach with experimental, fail forward intentions. Yes it is still perceived that way by ‘the industry’ which prefers it’s audience to consume passively and in great numbers A rather unfocused and immature form. A transmedia youngster, nervously skipping across main stream film, tv and radio on the newly surfaced rocks of social media, mobile apps, games, physical events and next gen web sites. It’s a new story delivery mechanism still trying to gain widespread recognition. Something of a big risk if it ventures too far from a parental-like, well know ‘branded’ linear property. From my perspective this youngster is about 17 years old. An age based on widespread adoption of online in the mid to late 90s and a little later when I was presenting much the same 360 issues at the BBC. A time when the internet could just about stream low rez video, when one to one chat services were stumbling along and everything we have today was but a distant dream. 17 years on we still we face the same, adoption, issues.

Barriers to Points of Entry

Even though many trials have taken place such as one of my earliest at the BBC here, where a 40 day live web journey across Central Asia in 1997 was a combination of radio, 2 way web, TV, world service news and so on, large media organisations still often looking for the cheapest ‘easiest multi platform routes’. One of the biggest hurdles in early stage, integration discussions with traditional producers are the obligatory questions – ‘its too complex – a black art’, ‘why bother – I don’t use the stuff personally’, ‘we don’t want to detract from the show’, ‘it’s too expensive’ and the most important one which I want to tackle head on today is the old doozy ‘what will we really get in return’?

But first the bad news…

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May 132012
 

 

 

Presenting Media140 - Photo: The Cut Creative, Perth

I keynoted at the Media140 conference three weeks ago (26 Apr 2012) wearing my ABC Exec Producer TV Multi Platform hat. Now responsible for non-kids ABC TV online & mobile offerings & TV mobile and social strategy my 20 minute talk was rather focused on the high level challenges for broadcasters trying to truly integrate fiction, factual and entertainment with social, mobile and 2nd screen (or synch services). The transcript, slideshare and more ore detail follow but first…

Absent note

…apologies to regular readers for my long absence from post on this blog. I started an ABC role back in October which overlapped with me running the Screen Australia StoryLabs weeks and as well as tidying up and finishing a range of commercial projects meant actually talking/blogging about all the stuff I have been doing in long form, has been tricky – plus there are confidentialities to take into account. The adage certainly holds true those who can, do, those who can’t, write long blog posts or podcasts on the topic 🙂 Might get flamed on that one, but I think having an hour or two to sit and post is a luxury. In other full time roles I still manage to provide a commentary into the cloud but the ABC is particularly under resourced in multi platform areas with many folk working beyond the call of duty. I am also taking advantage of my partner Laurel Papworthaway, spending a few weeks on a pilgrimage across the Camino in Spain, and doing very well with it.

Talk intro – the challenge, the hybrid and the prototyping

Also like most big media organisations the ABC is a mirror of the external larger world itself. There are silo’s, politics, technical differences across the divisions, resource scarcity, diluted budgets and linear controllers / commissioners who all need to be sold on the importance of Multi Platform and the potential of different types of services. But that means a good part of my role inside the ABC is very similar to my BBC Senior Dev Producer role, to evangelise but also implement new services. That means I am exposed to the key challenges in terms of merging or hybridising broadcast and on-demand TV with some of the key driving forces outside a broadcasters world. Without drilling down into the detail (or breaking any confidentiality!) the top level challenges for all traditionally one-way media organisations is:

  • Sorry too busy to talk – We don’t have enough people resources, social media staff, to engage in widespread, authentic, editorial conversation with our audience/users
  • Bolt on effect – Our massive internal technical infrastructure/s can’t be glued to always new, transient, multiple external services/APIs
  • That’s they way it is done – We have decades old editorial & commissioning processes in place and until any big multi-platform ‘story-telling’ breakthroughs we will need convincing of a reason for changing that
  • Multi platform and social media is really about marketing isn’t it and therefore warrants those types of relatively small budgets
  • Sure everyone is shifting attention to mobile & social but until there is zero people watching our main channels we have a job to do!
  • Rights are not set up for multi platform, period. Expensively produced linear video leads, the rest follows, still.
  • and the list goes on and on

Ok I am being a little provocative and at the ABC, I and many others are very aware of the challenges and getting on with the changes required. Alongside managing producers and resources I am able to run group workshops internally with the key show creatives and together (vs telling what we should be doing!) to slowly move forward. I also have a great role in developing working prototypes (and final services) of synchronous 2nd screen and social mobile services. Being several months into these,  I also refer to at the end of my talk of the key differences between vanilla social TV, content owner social TV, content owner driven 2nd screen storytelling and the hybrid of all of them. When someone is engaged with a great synch story experience of say tablet against TV it makes absolute sense to include social elements, for them to invite and share that experience.

I also mentioned in the talk and interviews around it about the need for content owners and broadcasters to be driving the 2nd screen experience – these have to be truly integrated story experience and although there is value in trying to layer or bolt on these synchronous services. Although voting, polling, surveying type services can work, ideally with presenter driven call to actions, many well written pieces of video do not have much ‘space’ for the interaction (or parallel narratives to ideally slot in). There are two arguments to that. Firstly formulaic storytelling combined with the distractions our already existing 2nd screen habit means we are constantly snacking on our 2nd screen anyway and ‘missing’ the important bits of the show. Secondly, in a world where on-demand, when you want it, watching is so ubiquitous, I am devising several formats where the linear video is simple paused and the interactive component has its own space to breathe in this time frozen moments. I am suggesting in all my meetings with show creatives that if possible, the best approach is to design from the ground up. But that then moves into eons old ‘commissioning’ processes and for now I won’t go there, perhaps later…OK onto the talk

Hello, Good Morning and Welcome

It was great to be in Perth again with a very enthusiastic crowd, which speaking to the folks there, encompassed most of the digital fraternity it seemed. There were many folk live blogging the event and my talk (e.g.: Sarah Tierney and Matthew Allen), I did a few small interviews (e.g.: Western Australian / Yahoo)  and at least 60% of the audience tweeting. Media140 is the brainchild of Andrew Gregson and the event was very well organised, technically and management wise. The slides below were presented on my new iPad (3) so hopefully the formatting came across OK. Transcription follows the slides

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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?