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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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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

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 022012
 

Originally published (& cross translated?) Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 5 of 5

Image by Gary Hayes

“Anyone up to battle aliens at the local museum tonight?”

It might sound like a farfetched idea at the moment, but this question may soon be another option rather than the old invitation to go see the latest 3D blockbuster at the Cineplex. The previous four posts talked about major experiential paradigm shifts, where more and more people desire to be ‘inside their entertainment’ —literally. The need to watch a show or read a good book in isolation will never go away, but right now, a new form of immersive entertainment is taking hold that sees users hyper active online and more and more participatory outside of their homes in unique, social story locative experiences. These shifts leads us to confront some basic questions, like, “What is an experience?” and “Are some experiences more engaging than others?” as well as some not-so-basic ones, the all-important, “Who will create all these new experiences?”

Designing any new media format is challenging, especially when the goal is to create highly engaging pervasive entertainment, that is more compelling than what already exists. Since the grammar has not yet been invented, for many, it presents a quantum creative leap. Right now, there is still conflicting opinion about what to call these new types of distributed stories—and let’s not mention the transmedia wars!

One of the greatest challenges for professional storytellers, who are accustomed to traditional linear plots, is to transition into a new platform. Rather than writing straight lines to be delivered from a stationary stage or studio, they are now being pushed to create content for a shifting stage or multiple shifting stages at once— often in different cities or time zones. Given the growing appetite for this type of connected, collaborative, dynamic content, the well-established line between audience and producer is becoming increasingly blurred. Right now it remains to be seen if conventional storytellers will adapt to these new demands, or if they will be outpaced by users themselves. User who are as voracious (and in some cases as adept) in creating content as they are in their insatiable consumption of it.

I was trawling the web the other week looking for a good description of levels of experience and how to design for them. What I discovered, however, is that, much like the missing lexicon, there isn’t a lot of science to this yet either. To fill the gap for now, I created a diagram to explore increasing levels of experience or engagement: It begins at the first level of physicality as the least complex and builds its way up through mental engagement, then social inclusion, and finally the emotional and spiritual levels. These last two being the hardest ones to deliver. Narrative games, like L.A. Noire and the earlier Heavy Rain and Indigo Prophesy, are brave examples of games trying to develop emotional, interactive responses (albeit skipping most of the real social & physical elements).

For audiences in the developed world, 3D and 4/5D cinema is gradually moving into the home and has the potential to make box office visits unnecessary – not worth the added effort. Audiences are starting to expect more value and more payoff for their play time (and trouble): For many, a trip out of the house to be entertained is a transmedia experience in itself. This forces new entertainment providers to seriously take these “audience journeys” into consideration. Likewise, since marketers have begun to tell more interesting stories across places and platforms, traditional writers need to get up to speed on these changes as well. Take for example, a recent holographic product display for Lego. These types of interactive promotional events work to increase the expectations across the board for what is possible in terms of entertainment.

However, film is also slowly catching up. The internationally renowned artists’ group, Blast Theory created a locative cinema project called A Machine to See With, which is a good early evolutionary example. Less about sensory immersion and more about a healthy combination of imagination and locative storytelling, the project allowed viewers to “live” inside a cinematic story unfolding on the streets of Brighton, England. According to the San Jose Biennale last year, the experience mixed documentary material, stolen thriller clichés, and the films of Jean-Luc Godard to let participants walk through the city and receive phone calls, stepping into bit parts or leading roles.

These steps are evidence that now would be a good time for these types of indie projects to start receiving the big-budget attention that clunkers like Phone Booth did. Entertainment is truly moving toward a variation of the infamous Star Trek Holodeck, a complete surround experience that fools our brains into thinking “this is really happening” or “we are really there.” Experiences can either be delivered through layered digital storyworlds, or peppered your everyday life through fragments and bits so that your real world starts to become the storyworld.

Parallel to this transmedia trend, there are complete virtual screen environments of game driven and socially focused spaces known as MMOGs (massively multiplayer online games). These alternate “worlds” are host millions of peoples ‘minds’, melded into the characters they are playing. Many approach a game with the same gravity as a method actor taking on a new role, wholly losing themselves in an alternate reality. The way people interact with these virtual selves is also rapidly changing – making new interface technologies like the Xbox Kinect and iPad/tablets some of the fastest-selling items in history.

These new forms of entertainment will require creators to become writers of place and time, creating relevant and game-like personal experiences. Let’s imagine a simple future? You are at home watching a story experience teaser on your surround 3D head mounted display. You decide to rent it with some friends and project it on your wall-size, AR home cinema screen. It sets up the challenges; you all become the heroes. You all don in-earphones and sporty AR glasses, which have tiny cameras connected to a 6G network that point out and down, tracking the external world, as well as body movements and speech.

You undergo a physical and mental training exercise in your home to prepare for the outdoor challenges. You walk outside and start to explore your city. The open park becomes a fully rendered fantasy environment; urban streets and buildings are layered with story and critical game information. You have X-ray vision; you can see inside coffee shops and stores. Past and future scenes play out before your eyes. You talk to digitally rendered, artificially intelligent characters who respond to specific questions. You work as a team and add your own story challenges. An iBrain scan afterwards let you record your experience for others in 3D.

Welcome to your personal experiential entertainment Holodeck. Of course, you can turn it off at any time and read a good book or watch a film. But that’s so 2011.