With the continuing growth of user generated content, crowd sourcing, social commerce and social networks for entertainment the major entertainment markets have suffered a steady fall in influence and share of wallet over the last 5 years. As consumers of film and game become more digitally sophisticated the technology is continuing to keep pace but are the publishers / developers fully leveraging the potential of Social Audiences? Traditional strategies and tactics by the big studios include a standard checklist of platforms to deliver their content but are they fully embracing the peer-to-peer nature of social and Transmedia storytelling?
Audiences are becoming more socially aware and more efficient at communicating peer-to-peer as well as with the studios, publishers and developers. The industry is still searching for the golden goose that will lead them from fragmented audiences to a unified Social Audience who will purchase repeatedly rather than expending time and money on building an individual community for one film project only to loose the audience for the next film project – this process is often confused with Transmedia storytelling. Applications are playing their part in this process with Flixster and Disney providing examples of a fully integrated Social Commerce experience. The move towards Socially enabled commerce has occurred already, its time for the developers and publishers to follow suit.
The most successful film properties in the last 10 years tend to be those who embrace the Social Audience by providing multiple opportunities for engagement, user generated content, social conversation and exclusive relationships with the Intellectual Property (IP). One commonly understood framework to explain such successes is Transmedia storytelling, in other words, the ability of the audience to migrate the story onto a multitude of platforms relevant to their everyday lifestyles – a lifestyle choice. Commonly recognized Transmedia storytelling properties include “The Matrix”, “Battlestar Galactica”, “StarWars” and “Star Trek” where audiences and publishers have collaborated to produce extensions to the story telling process beyond the original film content. The single biggest problem for Transmedia storytelling that continues to be a barrier to adoption by the studios and publishers at large is the lack of clear monetization. Finding ways to produce revenue channels for often intangible content and engagement is, for many, as challenging as measuring a suitable metric for social media marketing.
The immersion of the virtual world into the real world is becoming more commonly accepted with old technologies such as augmented reality and 3D being reintroduced to mainstream audiences. As retailers explore the possibilities offered through augmented reality, QR codes and digital editions it is essential for publishers and distributors to consider these channels as additional potential avenues to monetization. The next step will be to identify the opportunities for two way conversation utilizing cloud computing, virtual worlds and other emerging technologies to open the door for users to generate related content that can be connected back to the digital hub for each IP.
Find out more about Social Audiences for Filmmakers.
Tanya Relf is the author of Social Media for Filmmakers, to find out more about the latest research brief – Social Audiences for Filmmakers visit http://www.socialmediaforfilmmakers.com.
www.theblackandblue.com With digital cinema showing no signs of slowing down — and data rates actually accelerating — having the skill to properly manage data in your repertoire is crucial. In this video I give a brief overview of my basic media management toolkit, how to set up an organized folder system on the hard drives, and a process to make sure you never accidentally erase footage (hint: green tape = good).
Question by Jim B: Art Institute Digital Filmmaking & Video Production?
I want to be a writer for TV or involved. and i was thinking this would help but i heard this is not a good school for my plans. is it a school and a degree that would help me get hired in the film industry if not can you give me other options
or should i go to Houston Community College
for Associate of Applied Science in Filmmaking and transfer to a bigger film school
Answer by jannsody
Please forgo those private $ $ for-profit schools such as the ‘art institute’ and instead go to the much more affordable community college (and/or traditional university). This consumer site has many posts by former students about those private for-profit tech schools including the ‘art institute’, and please heed the students’ warnings: http://www.ripoffreport.com and can search.
For accredited college-level programs in art and design: http://nasad.arts-accredit.org
General career info: http://www.bls.gov/oco and can sarch.
For US colleges: http://www.utexas.edu/world/univ
What do you think? Answer below!
WE ARE LEGION: The Story of the Hacktivists takes us inside the world of Anonymous, the radical “hacktivist” collective that has redefined civil disobedience for the digital age. The film traces the collective’s evolution from merry pranksters to a full-blown movement with a global reach. In the last year, Anonymous has been associated with attacks or “raids” on hundred’s of targets ranging from financial institutions, cyber-security firms to foreign dictators. They played a vital role in the “Occupy” movement and recently launched the largest DDoS attacks in history against Hollywood for their support of SOPA. Armed with colleagues from the filmmaking and digital communities, writer/director Brian Knappenberger weighs in on the challenges of making the film, the roots of Anonymous, and their current battles with Hollywood.