3. Nor this
Talladega Nights, Prayer to Baby Jesus
http://www.youtube.com/watch?v=5A0-u85aAYg&feature=player_embedded
3
4. What this is
A grappling with a changing creative landscape
(who isnât?)
A few things weâve learned about cross-
platform ideas.
A point of view on what brands can offer and
what they want in return.
4
6. Powered by three forces
In Society
A move to
hypersociability
Proprietary, paid-for
A cross-platform
In Entertainment Vs In Marketing
explosion
Opensource, free
6
7. It begins with this
In Society
A move to
hypersociability
Proprietary, paid-for
A cross-platform
In Entertainment Vs In Marketing
explosion
Opensource, free
7
9. "Sharing information is something we're
biased to do and to like doing."
Clay Shirky
Image source: http://ciclodedebates.fundacion.telefonica.com/clay-shirky/
9
11. ..But our connectivity is here to stay
âThe dynamic of our society, and our new economy, will increasingly obey the logic of
networks..We are connecting everything to everything.â
Kevin Kelly, New Rules for the New Economy
Image source: http://www.ibiblio.org/hhalpin/homepage/presentations/de2007/
11
12. The impact on marketing: a ïŹght for
attention In Society
A move to
hyper-sociability
Proprietary, paid-for
A cross-platform
In Entertainment Vs In Marketing
explosion
Opensource, free
12
13. âTechnology.. is a queer thing. It
brings you great gifts with one
hand, and it stabs you in the back
with the other.â
C.P. Snow, New York Times, March 15, 1971
13
14. A crisis in marketing, Part 1
âIn 1965 80% of 18-49 year olds in the
US could be reached with 3 x 60 second
spots. In 2002, it required 117 prime-
time commercials to do the sameâ
Jim Stengel, former Global Marketing
OfïŹcer, P&G
14
15. A crisis in marketing, Part 1I
âIn 1965 80% of 18-49 year olds in the
US could be reached with 3 x 60 second âIn 1997, the average click through
spots. In 2002, it required 117 prime- rate on online ads was 2.1%. In 2001 it
time commercials to do the sameâ was 0.5%. In 2008 it was 0.1%â
Jim Stengel, former Global Marketing IABStats, @IAB
OfïŹcer, P&G
15
16. âOld, linear forms of storytelling
are like going on a date and not
letting the other person talk.â
Nicke Bergstrom (Mother), #CRCAT
16
17. How brands are âtelling storiesâ
â Integrated
â Interactive
X Transmedia (excl. Entertainment brands)
17
25. Barclays: 56 Sage Street
How do you teach 13-19 year olds money skills?
Make it a game.
In which you get mugged. Then given ÂŁ4 and a âphone..
25
29. What weâve learned along the way
Always on, not bursts of activity
Fuelling conversation, not launch and leave
Iterative and two-way, not linear and one way
Online and ofïŹine are blurred, not virtual vs real
29
30. More fundamentally
Itâs not about tools, itâs about behaviours
Itâs not about technology, itâs about networks
Itâs not about social media, itâs about being social
Itâs not about now, itâs about the trajectory
Itâs not about having all the answers, leave some room
30
31. In summary:
Challenges Facing Brands
A growing list of
challenges & Find and create new ways to
engage audiences
opportunities facing
brands, some new, some Create and sustain conversations
with audiences
old... all now centre
stage. Get better at telling stories
coherently across platforms
Increase ROI and reduce cost
(creativity, production, media)
31
32. The impact on entertainment: a ïŹght
to monetise In Society
A move to
hyper-sociability
Proprietary, paid-for
A cross-platform
In Entertainment Vs In Marketing
explosion
Opensource, free
32
34. The open-sourcing of entertainment
Messier, crowd-up models
Democratized, decentralised and fragmented
People spending more time with content made by people like
themselves.
And that content is getting better..
34
40. âThe need and function of storytelling is totally
universal, because that need to hear stories and to tell
each other stories is as fundamental a human
structuring essential need as eating, breathing, drinking
and making love.â
Michel Reilhac, Cinema, Crossmedia and Public Television:
Firm Steps into Uncertainty.
http://michel-reilhac.blogs.arte.tv/2010/07/04/into-the-future-2/
40
41. How can we leverage this fundamental
truth, in ways that reïŹect the new reality?
Free | Participative | Awesome
41
42. One route: The 3-party market
Source: Chris Anderson / Free / 3 Party Market
42
43. Letâs adapt it..
Source (adapted): Chris Anderson / Free / 3 Party Market
43
44. Case study: a 2008/9 partnership between Josh
Klein (hacker/writer), Giraldi Media & BBH Labs
The idea!
THE WORLDâS FIRST CROWD SOURCED, BRAND-FUNDED,!
TRANSMEDIA CONTENT CREATION ENGINE
technologies!
crowd-powered! expert ïŹltering! a radical new content !
creativity!
+ that facilitate! x & curation!
= creation engine!
collaboration!
44
45. The plan
Idea - the pilot phase! How the pilot will work - the ïŹve stages!
! " # $ %
SHORTLIST!
CALL FOR! SUBMISSION OF! CROWD!
JUDGED BY! PRODUCTION!
ENTRIES! TREATMENTS! RATING!
The focus for the pilot: stay on neutral EXPERTS!
territory, prove the concept ! Josh Klein, author & hacker! The competition is ! Submissions are ! Anyone (participants! In the ïŹnal! Category winners!
launched & entries! posted on the site.! & visitors to the site)! stage of the ! are awarded prizes.!
across ïŹve categories! both rate the! competition the !
are requested.! Anyone, globally, can! submissions and offer! category judges decide! Winners are open to!
âRooâdâ, a future sci-ïŹ novel
! The prizes & judges!
submit up to a 10-page!
Creative Commons-!
commentary,!
suggestions, & !
on the top three!
in each category.!
direct contract by!
anyone who wants to!
are announced.! licensed script derived! further ideas.! produce a full treatment!
from Rooâd.! They are also allowed! based on their entry!
Commentary, ! to select one !
Written &! The crowdcreates!
site becomes the! Format for submission! suggestions & feedback! âwildcardâ not ranked! First refusal goes!
hub around which! is bespoke by category.! are also provided by! in the top 10 by the ! to the category judges.!
Creative Commons-published
! the competition! judges, & Guest editors.! crowd, if they choose.!
is staged & engagement! No legal haggling or !
by Josh Klein
! & interaction occurs.! An algorithm helps! delays; just the !
rank submissions! marriage of talent, !
within categories.! investment & ideas!
How the pilot will work - the crowd rating system! How the pilot will work - globally renowned judges!
Producer / Director, âAmerican Psychoâ, âBad Lieutenantâ, Das Bootâ,!
FILM! Ed Pressman!
âThe Crowâ, âBadlandsâ, âConan the Barbarianâ, âWall Streetâ!
One of the hottest writers in the comic book industry, best known!
COMIC! Robert Kirkman! for his work on the Image Comicsâ series âInvincibleâ & !
âThe Walking Deadâ; now a partner at Image Comics!
âą! A weight-balanced baysian ïŹltering system !
TV! Jesse Alexander! Emmy-winning Executive Producer on âHeroesâ & âLostâ!
âą! A cutting-edge semantic metanalysis of the contestants' communication corpus!
âą! Result: a balanced & truly representative vote of both the most popular AND the Award-winning Producer at EA, with credits that include âThe Sims !
GAMING! Jade Raymond!
highest quality entries! Onlineâ and âAssassinâs Creekâ!
OTHER!
(for example: mobile, live! DJ Spooky! Electronic & experimental Producer, DJ, remixer & artist!
events, music, or transmedia)!
45
46. What did we learn?
1. Have a highly customisable format OR proof of concept
2. Consider the life cycle (inception to disposal)
3. Who will curate? Single, creative vision
4. Amplify the experience beyond a niche community
5. Brands have their own DNA. Identify, then approach
6. Demonstrate short term ROI
7. âReality is bureaucraticâ Joanne Jacobs
8. Donât underestimate the sheer force of will required to
move lots of early interest to closing a deal
(8.5. And yes, the economy didnât help).
46
47. Notwithstanding this.. the potential
value is there:
Challenges Facing Brands What â3-Partyâ Offers
Engage audiences with messages
Find and create new ways to
they not only seek out, but they
engage audiences
help to create and spread
Storytelling that only improves and
Create and sustain conversations
becomes more interactive as
with audiences
involvement increases
Deliberate trialling of an approach
Get better at telling stories
to cross-platform creativity that
coherently across platforms
starts in a different place
Tap creative power of crowd,
Increase ROI and reduce cost
shifting media ÂŁ into content
(creativity, production, media)
creation. âEarnedâ media vs paid
47
55. âIn the interactive space good ideas
come from immersion in the space.
And that is f****** hard. Because
there is something new every day.â
Renny Gleeson,Wieden & Kennedy
55