HOW YOUNGER AUDIENCES REACT TO TRANSMEDIA CONTENT Nuno Bernardo, Ceo Beactive, Portugal Nuno Bernardo is the creator of Sofia’s Diary, Aisling's Diary and Bia & Fred Around the World, Transmedia properties that used a multiplicity of medias and platforms to engage an audience around an entertainment brand. Adapted locally in 10 territories and the first on-line show to cross to TV in EVENT PROGRAMME 14 15 the UK, Sofia’s Diary is a perfect example of how younger audiences respond to the new paradigm of the entertainment industry: media is more social, fragmentation of audiences, multiple medias, content distributed on-demand vs a traditional linear approach. We will focus on the importance of the community and the perception of “content ownership” and “content sharing” by younger audiences. Nuno will also show case some of his latest projects and share some success and failure stories about how to use the Internet, games, social media and mobile devices in sync with a TV show to engage younger audiences around an entertainment brand.

1. HOW
YOUNGER
AUDIENCES
REACT
TO
TRANSMEDIA
CONTENT

2. My
“Transmedia”
Background…
• Published
my
first
short
story
at
age
of
8.
• Studied
Computer
Technologies
in
Hi-­‐School.
• Masters
in
Journalism.
• Worked
in
the
adverCsing
industry.
• Wrote
hundreds
of
arCcles
and
a
few
books
about
Internet
and
e-­‐Commerce.
• Worked
for
Exponor,
an
event
organizer.
• Worked
for
TVCabo/MicrosoL
in
the
MicrosoL
TV
interacCve
TV
plaMorm.
• Set
up
beAcCve
in
2003.

3. MulE-­‐plaHorm
properEes
for
young
Audiences

4. MulE-­‐plaHorm
properEes
for
young
Audiences
• Sofia’s
Diary
MulC-­‐plaMorm
show
(localized
in
+10
territories)
• Sofia’s
Diary
Books
(Portugal,
UK
and
Brazil):
18
books.
• Aisling’s
Diary
TV
Series
(Ireland,
Australia
and
Sweden)
• Flatmates
MulC-­‐plaMorm
show
(Portugal,
Greece
and
Romania)
• Bia
&
Fred
InteracCve
Adventures
• Dark
Siege
Books+Game

5. My
influences…
• “War
of
the
Worlds”
Radio
Show.
• InteracCve
Adventure
books.
• ZX
Spectrum
with
48k
of
memory.
• “MajesCc”
from
EA.

6. My
influences…
• “War
of
the
Worlds”
⇒ Suspension
of
Disbelief
/
Immersion.
• InteracCve
Adventure
books
⇒ Make
my
own
story.
• ZX
Spectrum
with
48k
of
memory
⇒ Get
recogniEon
by
my
peers.
• “MajesCc”
from
EA.
⇒ Always
on.

7. The
Birth
of
Sofia
⇒ Sofia
is
like
a
Virtual
friend.
⇒ You
can
interact
with
the
story.
You
build
the
story.
You
own
the
story.
⇒ A
community
is
built
so
your
voice
can
be
heard.
Also,
in
a
mulC-­‐plaMorm,
non-­‐
linear
world,
it
helps
to
“sync”
audience’s
experiences.
⇒ Sofia
emails
and
text
you
during
the
day
and
appears
on
several
medias.

8. Sofia’s
Diary
“Sofia’s
Diary
helps
to
write
the
history
of
the
Television
in
the
UK”
Broadcast
in
Broadcast,
Abril
2008
Thursday 17 April 2008
Pg 1 of 2
o beAcCve
started
Sofia’s
Diary
as
Web/Mobile
interacCve
Blog
in
January
2003
in
Portugal.
o Sofia’s
Diary
extended
to
a
TV
Show,
Radio
Show,
Magazine,
Books,
DVDs
and
full
360
degrees
entertainment
brand.
o In
the
last
5
years
was
already
adapted
as
a
Transmedia
format
in
10
territories
and
broadcasted
in
more
than
30
countries.
o Sofia’s
Diary
UK
was
the
first
Web
based
series
to
be
transferred
to
TV.
o It’s
owned
and
distributed
by
Sony
Pictures
Television
worldwide
since
2006.

9. Merchandising

10. InternaConal
Versions

11. The
different
medias
as
windows
to
the
Sofia’s
World
• 4.30pm: Daily SMS/MMS alerts sent by Sofia.
• 8.30pm: Daily 4/5 minutes interactive TV episodes.
• 8.35pm: Interactive voting service to decide next episode.
• 8.35pm: Web content (text + pictures + video) published.
• 8.35pm: Mobile VOD of 1 minute clips (the loosing option).
• 7:50am: Radio soap (daily 2 minutes episodes).
• 8:00am: Premium Call service - summary of daily episode.
• 8:30am: Audio Podcast.
@ Saturdays: Weekly 22 minutes episodes

12. Content
as
a
communicaEon
tool
o Sofia’s
behave
like
a
typical
teenager.
She
texts,
she
emails,
she
blogs
and
she
tweets.
o She
communicates
with
her
friends,
the
audience.
o During
the
day
she
texts
the
audience
alerCng
the
audience
for
events
that
happened
in
her
world.
o The
episodes
show
the
events
menConed
in
SMSs.
o Audience
is
part
of
the
storytelling
process.
o Audience
communicates
and
gets
heard.
Audience’s
voice
impacts
the
community,
impacts
the
content.
o InteracCve
voCng,
forums
and
commenCng
allow
audience
to
discuss
the
best
way
to
solve
her
dilemmas.

13. Content
is
shared
o If
it
affects
me
it
affects
my
world.
o I
will
bring
my
friends
to
this
new
world.
o The
more
I
interact,
the
more
recogniCon
I
have.
o I’m
the
leader,
I’m
a
guardian
of
this
community.
o I
want
my
friends
to
see
my
recogniCon.
o So
I
share
the
content.

14. Content
Ownership
o If
the
audience
parCcipates
and
helps
shapes
the
content,
they
feel
that
they
own
the
content.
o In
a
book
signing
event,
a
Sofia’s
Diary
fan
was
upset
because
she
was
not
credited
in
the
book.
o On
Virtual
worlds
like
Stardoll,
the
users
“own”
their
avatars,
dolls,
houses,
etc.
o “Owning”
your
content
means
recogniCon.
o Mash
ups,
parodies,
fan
films,
informal
convenCons,
fan
Web
sites
and
blogs,
dressing
like
your
characters,
it’s
the
ulCmate
recogniCon
of
your
work.
o If
it
yours,
you
will
defend
it,
promote
it,
recommend
it,
interact
with
it,
akend
events,
etc.

15. What
is
different?
o The
Cme
necessary
to
build
a
brand
and
a
community.
o Angry
birds
become
a
pop
culture
reference
and
an
overnight
success
in
less
than
12
months.
o Using
the
Internet,
Social
Media
and
digital
devices
communiCes
can
unite
fans
around
the
globe.
o CommunicaCon
is
more
immediate.
o Audience
can
get
instantaneous
response.
o Producers
can
get
instantaneously
feedback
and
responses
from
audience.
o Producers
can
follow
in
real
Cme
the
communiCes
and
what
fans
are
talking
about.

16. Young
Audiences
and
Transmedia
o Producers
can’t
control
the
media
(and
pace)
where
content
is
consumed.
A
TV
episode
(or
Movie)
can
be
consumed
on
TV,
Computer,
Mobile,
On-­‐Demand,
DVD,
streamed,
etc.
o From
a
“sync”
experience
–
all
kids
watch
the
same
episode
at
the
same
Cme,
each
kid
now
watches
a
show
and
episodes
at
their
own
rhythm.
Europe
has
more
than
35
kid
oriented
TV
Channels.
Each
episode
is
repeated
in
average
6
Cmes
a
week.
o On-­‐line
communiCes
are
now
the
places
where
fans
can
“sync”
and
share
their
experiences.
o Young
audiences
want
to
find
their
“familiar
faces”,
their
favourite
characters
when
they
“jump”
to
other
medias.

17. Why
Transmedia
is
Important?
o Producers
can
now
control
the
way
story
is
developed,
consumed
by
their
audience
and
can
control
the
distribuCon
of
content.
o Producers
can
contact
direct
with
the
audience,
learn
from
the
audience,
partner
with
the
audience,
someCmes
avoiding
tradiConal
gatekeepers.
o Entertainment
brands
can
be
built
outside
the
tradiConal
media
outlets.
Club
Penguin,
Angry
Birds,
Stardoll,
etc.
o Producers
can
control
their
own
IP
and
become
the
brand
managers
of
their
own
creaCons.

18. beAcEve’s
Stategy
• Original
Transmedia
Franchises.
• Our
projects
are
funded
by:
– Ourselves
in
early
stages
of
development.
– The
Market
(further
producCon).
• AdverCsers
and
Brands.
• Broadcasters
(commissions
or
TV
license)
• TelecommunicaCon
companies.
• Our
projects
follow
a
3
stage
deployment
strategy:
– Web/incubaCon.
– Off-­‐line
extensions
(Radio,
TV,
Magazines,
etc).
– InternaConal
(Format),
Licensing
and
TV.

19. beAcEve’s
Transmedia
approach
• We
put
the
audience
inside
the
show,
making
it
personal
and
immersive.
Use
“different
medias”
as
windows
to
the
story
world
to
make
it
a
truly
360º
show.
• The
show
becomes
part
of
audience’s
day
life.
A
daily
schedule
of
events
and
content
release
is
a
subsCtute
to
endless
re-­‐runs
on
TV.
• We
use
push
devices
(Twiker,
SMS
alerts,
etc)
to
bring
audiences
back
to
our
content.
• We
promote
audience
parCcipaCon
(make
it
their
show):
voCng,
casCng,
forums,
live
chats,
live
events,
tours,
etc.
• We
use
the
Internet,
Social
Media
and
Mobile
phones
to
establish
relaConships
and
build
communiCes.
• We
use
tradiConal
medias
as
TV,
Radio
and
newspapers
to
bring
the
content
to
the
mass
market.
• We
use
brands
as
sponsors
and/or
produce
mobile
and
off-­‐line
products
for
moneCzing
the
content
(Mobile
content,
Books,
DVDs,
licensed
products,
etc).

20. Contacts
Thank
You!
More
InformaCon:
Nuno
Bernardo
nmb@beacCve.pt
beAcCve,
Produções
InteracCvas,
S.A.
Av.
Duque
D’Ávila,
Nº
23,
1º
Dto
1000-­‐138
Lisboa
Portugal