OK not really a Dummies guide as there are some complex elements in here, but one has to use whatever memes are in vogue 🙂 A few weeks ago I was commissioned by Screen Australia to write a very basic structure & guide for producers relatively new to multi platform content to structure & document their propositions, after they have developed the ‘audience centric’ concepts. This has just been published on the Screen Australia site as a digital resource for those needing to document projects for transmedia productions.
There are a multitude of sites out there asking the ‘audience’ (grrr) to submit films, music, scripts, stories, bits of their personal life and anything the brand or property feel will draw them into their branded world. Many go about it in a really poor way, providing virtually no incentive, a pretty small audience (as regards the actual community that will likely see their work) and often give little or no encouragement to learn and improve on their original submission. Many even resort to seeding the ‘competition’ with faux community created videos (made by pros deliberately shaking the camera!) – to pretend to kick-start it – they have no idea how easy it is for the community to sniff that out.
An easier and more enpowering way in for the co-creative community is to give them ‘great’ assets to create great content – it gives them a big kick-start. Giving them the same stuff that the pros get generates the real big incentive – it lets them show how ‘they’ are as good, if not better, than the pros! It also shows a willingness on the part of the usually out of reach ‘creative production’ to expose some of the real behind the scenes’ness and draw communities into the brand firstly from a ‘trust’ perspective. Secondly as the ‘creative audience’ members themselves will be spending many hours with the assets and this creates very strong brand/story loyalty. Often these creative types are pretty active influencers on the web anyhow and will draw their own communities into the brand. The list of benefits goes on.
Below are relatively recent examples of professional film and music folk throwing top draw fragments of content (rushes, isolated tracks etc) over the wall for the wannabee’s to work their own magic.
I have written about this subject a few times in the past but Bronwen Clune on Twitter pointed out her brainchild initiative, a Disney / AFTRS Film “Two Fists One Heart” making available some rushes for the community to re-edit. Cutscene site has all the information on the project and a mention should go out to my colleague at AFTRS, Bill Russo who has the enviable task (yes enviable as it is a joy to see community wisdom like this) of viewing potentially hundreds (see examples below) of alternately edited scenes.
We are giving you the chance to download and edit rushes from the international film TWO FISTS ONE HEART. This is the footage that editors work with and it is free for you to use under creative commons as long as you acknowledge the source and link back to the official movie page. We€™ve tried to give you a mix of scenes so that you can even download all of them and put together a short film of your own. When we told the folks at AFTRS and Disney what we were doing they were so exited they wanted a way to recognise some of the best videos that are created. SO €¦
The best 5 scenes will be posted on Disney€™s promotional TWO FISTS ONE HEART site. This is a great opportunity for some exposure to high-profile people in the film industry. The 5 best scene cuts will be selected by Bill Russo head of Editing at the AFTRS and the creative team from TWO FISTS ONE HEART. TWO FISTS ONE HEART Director Shawn Seet, Editor Milena Romanin and Cinematogropher Hugh Miller are all graduates from AFTRS, Australia€™s premiere Film and Television school.
The WINNERS will be personally contacted by Bill Russo who will give them editing advice and help with their editing careers. All you have to do to enter is post your video on YouTube, link to the Two Fists One Heart site for the movie in the info section and tag it TFOH, then email the link of your entry to firstname.lastname@example.org
Of course this is not a new idea and I recall at least five major projects at the BBC I was involved in from 96-03 that did a call out based on downloading and then re-editing, ‘professional’ footage (and at least 20 other ‘mash-ups’ using web interfaces). A recent non-BBC, feature example (Jan 08) that springs to mind is Tracey Fragments – a sort of timecode’esque Canadian film that gave away the ‘whole’ film to re-edit and again used YouTube to show the re-fragmentation. These are still available on the site – click refragmented. Here’s one example of a re-edit that have around 10 000 views each on YouTube.
Tracey: Re-Fragmented made available all the footage from the shoot of the film for users to download and re-edit their own replated projects including music videos, new trailers or to re-redit the entire movie themselves. A contest for best use of the footage has just closed at the end of January and judging will commence soon. The re-reditng initiative also has a competititve elements with Bruce McDonald and his editors selecting the best from the pojects from Canadaa to win an Apple Final Cut Pro prize pack. The winning project will also appear in the bonus features on the DVD release of The Tracey Fragments.
As mentioned the BBC has a long track record of opening up its rushes to the public (well it would do because the ‘internal’ BBC av assets are effectively owned by the taxpayer!) as well as providing community filming skills to a vast audience with 15 year old initiative such as Video Nation. Another recent example (2006), was when the BBC Commercial Archive opened up some of the rushes from its natural history section and asked the audience to re-cut or rather creatively make a brand new trailer for Planet Earth. Here is one example entry to the BBC Planet Earth video editing competition
To highlight the creative potential of the Open Earth Archive the BBC is also running a competition to make a short ‘advert’ for Planet Earth. Novice editors can enter the competition through the Easy Edit Suite, an exclusive application available free on the Open Earth Archive site allowing users to create a short video with a sound track using some of the best bits of the archive. The competition closes on 30 April 2006 and winners will spend time in an edit suite with experts seeing how the professionals edit for BBC Television. The Open Earth Archive is made freely available for the UK public to use under the terms of the Creative Archive Licence. The Creative Archive Licence allows people within the UK to watch, download and edit material released for non-commercial purposes, using it to inspire and create their own creative endeavours.
MAKE IT A GAME TOO
At LAMP there have been at least 20 projects based on the call for creative contribution. This includes the iEmmy nominee Scorched as well as a Gruen Transfer’esque ‘Sold in 60 Seconds‘ and most of our ARG variants. One really cool ‘video fragment’ example was on our very first residential workshop lab in late 2005, Insect Men. Insect Men was a video fragment scavenger hunt. The mind of a character (of course represented by a linear film sequence) was shattered in a freak lab accident and his mind spread all over the web, outdoors and on linear channels (these things happen!). The audience had to find, collect them and put it back together in a meaningful way. This predated Eternal Sunshine of the Spotless Mind and other similar recent play’s on fragmented memory but this is less about story and more about bringing a game-play element into the re-cut too. The team were clear that there was no right or wrong way to put this unfortunate characters mind back together but rather courted community compare contrast – which is the best way forward.
BE PREPARED FOR A TIDAL WAVE
What to do when all this great stuff comes back?! Looking at exactly the same methodology of – here are some professionally created assets by your heros for you to rebuild in ‘your’ way – Imogen Heap (who I keep going on about?!) in the past month gave away a song in the form of lead and backing vocals for the co-creative fans to provide their own music. This takes it a step further as the backing to the vocal tracks truly represents the genre and style of the contributors vs the more subtle ‘persona’ that comes through a pure film edit. Imogen and team got back nearly 400 completely rebuilt unique 3 minute songs and you can listen to 219 of them here on the Twestival site. They were so overawed by them they are going to release a special EP with the best ones on. Shame that wasn’t part of the original incentive – but it probably didn’t matter in the case of a loyal fan base already!
OK there are folk out there who use ProTools, Final Cut, Logic, Cubase etc etc: There are even more who are now familiar with iMovie, MovieMaker, Garageband etc: But although these will produce much better and original results it requires a significant amount of extra effort than a browser based tool. I was a little derogatory about web based editing or mash-up tools earlier but there have been a few good examples over the past 12 years on the web we know today – yes folks they have been around for that long! Even I did some in 1995 when I put the first audio and video on the main BBC sites in the UK – simple quicktime based mixers which worked even in the days of 28k modems!
A recent one that works because it is so integrated with the TV component is ABC Australia’s Gruen Transfer. The thing that really works for me (above and beyond the AdMixer interface and usuabilty – yes they are getting better) is the fact the call out from the show gives a very specific task – this week/series for example the presenter said – go and create using a bunch of pre-built clips/audio and text, a promotional advert to sell Australia. Simple, a bit limited tool and clip wise, but really easy for an audience to quickly produce something meaningful with very little effort.
THERE’S A LOT OF IT ABOUT
As regards remixing, mashable content there are many others worth investigating if your into the subject and a quick look around will reveal the likes of
and the list goes on especially if we include fan driven or film school based competitions!
But a last point I shall leave you with is make it accessible. If only 1-2 % of the audience will get off their a$&#s and make something and send it in then make it easier for them – grow that to 10% or more. I covered the sort of splits of the co-creative audience on my post Web 2.0 and the Myth of Non-Participation. Allow them to search and embed other peoples work, allow them to just vote or rate (obvious and used a lot of course) or give them some really good material so they can create something ‘they’ will be proud of – like most of the examples above here.
OK there are lots more examples of this including community driven film sites like my fav triggerstreet and I have probably missed the ‘big’ ones (so tell me in comments!) but the last message – Throw good stuff at your collaborative, co-creative audience and they will reward you many times over!
Over the years I have been creating lots of confusing, busy yet at the same time, meaningful and insightful emergent media diagrams. These attempt to help the uninitiated heritage media folk, get to grips with a multiplatform, shifting-social-media-sands, transmogodified entertainment landscape…breathe.
So I have been uploading a bunch of these diagrams onto my flickr account over the past weeks, partly to make them more accessible to me too (oh the joys of the cloud) but with the creative commons tag, for all and sundry to use (attributed of course – the only way to power & fame nowadays – cackles!). Here is a short selection of the 25 or so already up, with brief descriptions – the main bunch is in a set called ‘Emergent Media’ here.
The above diagram is intended to help storytellers simply understand a range of key places to distribute their story fragments or triggers online. I always aim to have x and y axes and here I decided to differentiate these ‘social media services’ by time vs richness. So x axis is ad hoc dip-in-out through to realtime/live and y axis is basic text through to video/games etc: It would be possible to do a quick ‘sketch’ user journey here too by adding sequential numbers to the ‘notes’ one puts in the boxes.
The above is one of my favourite diagrams from way back in early 2006. I normally present this by saying in looking at ‘form’Â lets not follow red-herrings by only looking at the content type, or distribution channel, or display – but mostly at the audience and the cross-media form. The arrows there indicate the participatory audience pushing content up to the top and it filtering down onto the three screens – mobile, informational and home (phone, pc, tv ish)
This was a diagram I threw together at Bangkok airport believe it or not early in 2007Â – simply looking at the influence that people have in the sharing web. It is intended to show a whole bunch of ‘indicative’ ideas about the proportional numbers who contribute to web 2.0 through to the influence each category of users have on it – I also invented in my jet-lagged haze five categories, The Creators, The Editors, The Critics, The Sharers and The Consumers. This was discussed here on this blog and heavily dugg too last year.
A convergence viewpoint (and yes I know the C word is bad!) But I re-discovered this diagram and the thing that stood out for me was OMG everything seems to be pointing towards the iPhone! Yes games, information, video and telephony all combined into one device…I wonder if Apple nicked this 🙂 But thing that stood out for me was the developments in 100 years from only cinema through to a device you hold in your hand that now combines potentially everthing (to a lesser or greater degree). My original post this is on here Media Journey’s Pt 2
A relatively recent diagram when I was trying to get my head across ‘shared worlds’. I often get asked about shared worlds being just game worlds (WoW or Second Life) but of course it extends across a whole genre of services online. I didn’t include the shared worlds of email/forums/twitter etc etc but concentrate on worlds specifically aimed at stories or games for this particular chart. The ubiquitous x and y axes here are about x – physical to digital 3D and y – Functional to Game. It is therefore easy to map ‘real life’ at bottom left as physical/functional while top right digital and game as being the traditional MMORPG.
Finally couldn’t post diagrams without a very recent one I did with the wondrous and exquisite Laurel Papworth which merges the above thinking with how to promote and reach out across the vast landscape of social media. Here is a description from the flickr photo that has already had 1600 views or so.
* INVOLVE – live the social web, understand it, this cannot be faked
* CREATE – make relevant content for communities of interest
* DISCUSS – no conversation around it, then the content may as well not exist
* PROMOTE – actively, respectfully, promote the content with the networks
* MEASURE – monitor, iteratively develop and respond or be damned!
As I said there are many more on my flickr account and will be adding another 30 or so old archive ones in the next months.
I have blogged long and hard about the future of the metaverse and particularly how key sectors can make use of them as a functional tool. Education are already motoring, social activity is still the key driver, artists use it for music, video and performance and buying/selling ‘user to user’ businesses are still strong. One area that has received most contraversy is of course ‘real brands’, a so called exodus and ‘really’ what is the ROI. I published over at my MUVEDesign VW development site, a first stab at where I think we are on the Gartner Hype Curve for social virtual worlds (not game worlds!). Here it is again (linked from my flickr account).
I do believe we are probably at the lowest ebb for brands in second life. This is bourne out by the SL brand stats I founded over at The Project Factory – you can see the dwell traffic for most brands outside the top 10 are exceedingly low. That doesn’t mean its game over. Far from it, as the lessons are learned and now it is time for companies to get it right, by avoiding developers that focus on build it and run (yes they are still here) and deliver experience, social interaction and relevance. I cover this in a lot more detail in posts back in 06-08!
Andy Mallon over at the Social Research Foundation has published a nice Annual Surver PDF report which is an inworld survey of Second Life users who ‘know’ second life – vs the tourist reports we often get from fly-by-night journalists or Gen Y social marketeers who don’t get it! Heres the blurb on the report (seeing I use the nice charts below!) Gotta earn my keep 🙂
The First Opinions Panel is the largest consumer research panel in Second Life with 10,000 members from newbies to the most active and involved “residents” who, Own the most virtual land, Spend and earn the most money there, Spend the most time there, an average of over two hours a DAY!, Run the most groups. Over 1,000 of our members own one or more groups in SL, many with hundreds to thousands of members. These are the leaders in Second Life. They are studied by over 33 demographic and psychographic attributes from both their real and Second life.
Firstly the longevity for users in Second Life. Remember that at the moment there are between 60-75 thousand users inworld at any moment and 31% spend an average of TWO HOURS a day in Second Life – 2/3 spend at least ONE hour a day! The next question is what is the churn rate, how long do people actually hang around using the service?
So Second Life is perhaps not ‘for life’. It seems many folk do tire of it at around 18 months with only around 20% going for longer than two years. Again this isn’t a real issue for brands as the culmulative user hours across the board puts Facebook, YouTube and other social spaces to shame.
This culmulative dwell is also on the increase. Get a user loyal to your brand and you may have them for longer than a year. Which seques nicely onto how do those inworld for these long periods actually want to interact with brands…
The item that stands out for me is ‘product development’. This has been consistently under utilized so far and there is still a big gap in the virtual marketplace for a big brand to really go beyond designing a hotel layout or fantasy coke machine. I know one brand will be stepping up to the mark this year and demonstrate how powerful this aspect can be. One item that is missing for me is brands ‘presenting’ to inworld inhabitants and facilitating ‘Ted talks’ like events rather than that being the domain of academia only. The SRF published a few choice statements from savvy inworld folk that reinforces several of the key points I and others have been bleating about for years.
“Don’t advertise to me – give me something that does not waste my time – make me want to learn more about by entertaining me, informing me or educating me. And make it cool.”
“Don’t just expect to do normal marketing – you have to hold events and interact with people”
“Bringing real world products inworld is the next inevitable evolution.”
“SL is a great way to reach those whom may need services that you may not reach otherwise. ”
“Real life companies tend to create great places but just leave them behind. They should assign some people to stay online and accommodate those people who visits their places in Second Life.”
“You have to engage people in SL, not simply put up marketing messages and expect residents to flock to you.”
The survey goes beyond well trodden areas too by asking about their Real Life Primary Job and how Second Life has been an enabling tool for it. It is no surprise that learning, collaboration and meetings are high on the list but what will become more and more significant will be real world recruitment – gauging a persons abilities and/or personality inworld. Kelly, Accenture and others are already versed in this space.
With the level of doom about brands in second life this question goes to the heart of what activities are on the decline. So looking at this chart the shorter the bar the better and running RL businesses in Second Life is the least in decline. (It is not clear from this chart if surveyed folk actually answered all questions so will leave it a little to your imagination as regards a true split here)
As a finale and related to the above, Clever Zebra’s Virtual Worlds for Business 2009 is now out as a free publication looking at VW for business applications. Unsure of the ‘enterprise readiness’ of all ten worlds author Nick Wilson highlights companies that are already sold on VW for meetings at least – which is slightly contradictory to him saying, expect to be logged out of meetings regularly? Anyway in the free report here are a few quotes from the document:
Dell “Employees report that they are more engaged in the 3D environment than on a conference call and that they feel more involved and apt to participate. An added side benefit is that this pilot project affords Dell the opportunity to experiment with moving toward a greener future where more and more employees work from home, not the office.”
IBM “IBM estimates that they saved approximately $250,000 by taking the conscious decision not to hold the Virtual Worlds for Business conference (normally a 2.5 day in person meeting) physically this year, and more for the Annual General meeting (normally a 3 day event for 400 Academy members and affiliates).”
Sun “Sun were able to transform an otherwise exclusive, expensive event into an inclusive inexpensive one open to a much wider audience of junior engineers who would benefit from the real learning experiences provided in a virtual setting. They were even able to get Hal Stern, Snr VP Systems Engineering to come in and do 2 full chat sessions exclusive to the virtual component of the 2008 CEC.”