1. HOW
TRANSMEDIA
CAN
EMPOWER
PRODUCERS?

2. Nuno
Bernardo
• Founder
and
CEO
of
beAc1ve
a
mul1-­‐pla7orm
content
produc1on
company
with
opera1ons
in
Portugal,
Ireland,
UK
and
Brazil.
• Creator
and
Producer
of
Sofia’s
Diary,
one
of
the
world’s
first
mul1-­‐
pla7orm
teen
series.
Adapted
in
10
territories
and
sold
to
Sony
Pictures
Television
in
2010.
Produced
in
UK
for
BEBO/Five
TV.
• Creator
and
Producer
of
Flatmates,
Beat
Genera1on
and
DoYoubelieveme.com,
Transmedia
proper1es
that
were
produced
and
adapted
in
Europe,
Asia,
North
America
and
La1n
America.
• Writer/Producer
of
Final
Punishment,
2010
Emmy
and
Rose
D’Or
nominee
and
MIPCOM
Best
Mul1-­‐pla7orm
Format
winner.
• Creator
of
Aisling’s
Diary
for
RTE.
Winner
of
a
Kidscreen
Award
in
2010
and
2011,
New
York.
• Author
of
the
books
“ The
Producer’s
Guide
to
Transmedia”
(2011)
e
“Interac1ve
TV
Produc1on
Guide”
(2001).

7. My
influences…
• “War
of
the
Worlds”
Radio
Show.
• The
Personal
Computer.
• “Majes1c”
from
EA.

8. Why
Transmedia?
• Transmedia
answers
the
demands
of
today’s
audiences
lifestyles:
content
anywhere,
on
any
device.
• Audiences
are
becoming
fragmented
and
choosing
their
content
on-­‐demand.
• Transmedia
makes
content
more
immersive.
• Entertainment
becomes
global
social
experience.
• Transmedia
allows
audiences
to
have
an
ac1ve
role
in
the
storytelling
process.
• Allows
audiences
to
be
heard.
• Allow
audiences
to
“own”
the
content.

9. beAcCve’s
Focus
• Put
the
audience
inside
of
the
show.
• Make
the
audience
par1cipate,
be
part
of
it
and
decide
the
outcome.
• Make
it
personal
and
immersive.
• Use
“all
medias”
to
make
it
a
truly
360
degrees
show.
The
show
becomes
part
of
your
day
life.
• Use
the
Internet,
Social
Media
and
Mobile
phones
to
establish
rela1onships
and
build
communi1es.
• Use
push
devices
(Twiber,
SMS
alerts,
etc)
to
bring
audiences
back
to
the
content.
• Use
tradi1onal
medias
as
TV
and
Radio
and
to
bring
the
content
to
the
mass
market.
• Use
brands
as
sponsors
and/or
produce
mobile
and
off-­‐line
products
for
mone1zing
the
content.

10. Our
3
Stage
Plan
The
distribu1on
strategy
has
to
take
account
of
three,
broadly
defined,
stages
of
the
development
of
your
product:
• Developing
the
product
and
launching
it
as
an
online
en1ty.
• Growing
the
product,
doing
deals
with
other
media
partners
and
moving
into
offline
media
in
the
form
of
brand
extensions.
•
Finally
the
third
stage
that
involves
the
greatest
market
visibility
as
you
move
the
product
into
television,
possibly
a
feature
film
and
the
poten1al
for
licensing
deals
of
products
is
realised.

11. 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
mul1-­‐pla7orm,
non-­‐
linear
world,
it
helps
to
“sync”
audience’s
experiences.
⇒ Sofia
emails
and
text
you
during
the
day
and
appears
on
several
medias.

12. Sofia’s
Diary
“Sofia’s
Diary
helps
to
write
the
history
of
the
Television
in
the
UK”
in
Broadcast,
Abril
2008
o beAc1ve
started
Sofia’s
Diary
as
Web/Mobile
interac1ve
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.

13. Merchandising

14. Interna1onal
Versions

15. Content
as
a
communicaCon
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
aler1ng
the
audience
for
events
that
happened
in
her
world.
o The
TV
episodes
show
the
events
men1oned
in
SMS.
o Audience
is
part
of
the
storytelling
process.
o Audience
communicates
and
gets
heard.
Audience’s
voice
impacts
the
community,
impacts
the
content.
o Interac1ve
vo1ng,
forums
and
commen1ng
allow
audience
to
discuss
the
best
way
to
solve
her
dilemmas.

16. Content
Ownership
o If
the
audience
par1cipates
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
recogni1on.
o Mash
ups,
parodies,
fan
films,
informal
conven1ons,
fan
Web
sites
and
blogs,
dressing
like
your
characters,
it’s
the
ul1mate
recogni1on
of
your
work.
o If
it
yours,
you
will
defend
it,
promote
it,
recommend
it,
interact
with
it,
abend
events,
etc.

17. Final
Punishment

18. Final
Punishment:
StarCng
Point?
• The
Briefing
and
the
Challenge:
• The
FP
Briefing:
Create
a
3
window
concept
that
could
show
OI
Telecom
services:
Mobile,
Digital
TV
and
Internet
Portal.
• We
had
a
script
that
we
were
unable
to
fund
as
no
sponsor
wants
to
be
associated
with
“women
gegng
killed
in
a
prison”.
• The
Challenge:
how
to
make
a
story
about
“women
gegng
killed
in
a
prison”
relevant
to
an
audience
that
reads
a
similar
story
in
the
newspapers,
everyday.
• The
solu1on:
make
it
personal
=>
“You
can
save
them!”.
• The
2nd
Problem:
how
make
audiences
like
and
care
for
women
that
were
convicted
for
murder.

19. The
ARG
Started
• Game
against
1me
to
allow
audience
to
save
the
8
women.
• Back-­‐story
was
introduced
in
the
form
of
blogs,
photo
albums,
news
ar1cles,
etc
to
make
women
in
prison
more
lovable.
• Detec1ve
based
game
to
tease
audience
to
find
out
more
about
these
women,
what’s
the
connec1on
between
them
and
who’s
killing
them.
• Audience
need
to
collect
30
photos
and
a
decoder
that
will
allow
them
to
find
the
right
code.

20. The
Final
Punishment
ARG
The
Game
Master
The
Journalist
InMates
Back-­‐story
Youtube/IG
Video
Channel
Mobile
Content

21. The
Planning
• 1/10/2009:
Premiere
on
Rio
Film
Fes1val
and
event
in
the
streets
of
Rio
de
Janeiro
and
Fes1val
lounges.
• 3/10/2009:
Fake
news
about
the
“Prison”
to
be
broadcasted
in
OI
Radio
and
published
as
Ad
News
in
several
newspapers
and
blogs.
• 7/10/2009:
Partnerships
with
top
Brazilian
Blogs
to
ini1ate
discussions
about
“Is
this
prison
the
solu1on
for
Brazil’s
overcrowded
prisons
problems?”.
• 9/10/2009:
Blacklords
hack
the
Web
site.
• 10/10/2009:
First
inmate
dies
–
The
game
starts:
you
have
7
weeks
to
save
the
remaining
7
women.
• 10/10/2009:
Social
media
campaign
starts
with
Adwords,
Text
Ads,
Facebook
Ads,
Banners,
and
the
support
of
some
hired
bloggers.
• 15/10/2009:
The
ARG
campaign
starts.

22. The
Planning
• 15/10/2009:
Ads
in
in
Brazilian
Websites
to
promote
the
ARG
and
create
a
Web
based
community
to
enable
discussing
and
share
hints
and
codes
between
users.
• 17/10/2009:
Youtube
channel
and
IG.com.br
Video
Website
set
up
with
some
“leaked”
videos
from
the
prison
and
inmates:
surveillance
cameras
videos,
prison
psychologist
tapes,
etc.
• Mid-­‐November:
first
users
decode
the
password.
Prison
Web
site
shuts
down.
• December
2009:
Broadcast
of
the
4-­‐part
mockumentary
with
the
real
truth
about
what
happened
in
the
Ivo
Kermar1n
Prison.

23. All
the
Content
Produced
• Cinema:
1
*
60m
length
CUT
for
Rio
de
Janeiro
Film
Fes1val.
• TV:
4
part
mockumentary,
1
making
of
TV
show,
2
TV
ads
and
2
TV
Teasers.
• DVD:
1
90m
Feature
Film
Cut
+
Extra
material.
• Web
Video:
8
confessional
videos,
8
lost
tape
videos
and
4
addi1onal
22’
videos.
• Mobile
Video:
8
*
38s
character
presenta1on
videos.
• 2
Mobile
(JAVA)
games.
• 2
Facebook/Orkut
Applica1ons.
• 3
Twiber
Channels
and
3
Facebook
profiles
and
pages.
• 3
Flickr
channels:
+100
photos
were
produced
and/or
edited.
• 8
Blogspot
blogs.
• 45
different
banners.
• +1000
tweets
from
the
game.
• 20
SMS
alert
messages
+
1
WAP
web
site.
• 1
IVR
–
Pre-­‐recorded
voice
mail
system.

24. What
is
different?
o The
1me
necessary
to
build
a
brand
and
a
community
is
becoming
very
short.
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
communi1es
can
unite
fans
around
the
globe.
o Communica1on
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
1me
the
communi1es
and
what
fans
are
talking
about.

25. Audiences
and
Transmedia
o Producers
can’t
impose
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
–
a
big
chunk
of
the
audience
watch
the
same
episode
at
the
same
1me,
audiences
now
watch
a
show
at
their
own
rhythm.
o On-­‐line
communi1es
are
now
the
places
where
fans
can
“sync”
and
share
their
experiences.

26. Transmedia
Challenges
o Main
mo1va1on
should
be
tell
a
(beber)
story.
o TV
shows
&
Feature
Films
have
a
pre-­‐built
audience;
Transmedia
content
needs
to
fight
for
an
audience.
Targe1ng
audiences
becomes
much
more
important.
o Who
will
interact?
o How
to
reach
that
audience?
o What’s
audiences
moCvaCon
to
interact?
o What’s
their
reward?
o Transmedia
Storytelling
needs
to
focus
less
on
technology
and
more
on
entertaining
an
audience,
in
enhancing
storytelling
by
the
use
of
technology,
in
becoming
an
audience
success,
not
a
niche
pleaser.
Ar1sts
and
Filmmakers
tell
stories
(don’t
showcase
technology).
o Producers
need
to
format
Transmedia
as
a
business
and
establish
ways
to
sell
Transmedia
Shows
on
the
Interna1onal
market.

27. Why
Transmedia
is
Important?
o For
the
first
1me,
producers
can
directly
connect
with
their
audiences.
o Producers
can
now
control
the
way
story
is
developed,
consumed
by
their
audience
and
can
control
the
distribu1on
of
content.
o Producers
can
contact
direct
with
the
audience,
learn
from
the
audience,
partner
with
the
audience,
some1mes
avoiding
tradi1onal
gatekeepers.
o Entertainment
brands
can
be
built
outside
the
tradi1onal
media
outlets.
Club
Penguin,
Angry
Birds,
Stardoll,
etc.
o Producers
can
control
their
own
IP
and
become
the
brand
managers
of
their
own
crea1ons.

28. Path
to
Success
1. Tell
a
Story
2. Reach
an
Audience
3. Grow
a
community
(your
fan
base)

29. Contacts
Thank
You!
More
Informa1on:
Nuno
Bernardo
nmb@beac1ve.pt
beAc1ve,
Produções
Interac1vas,
S.A.
Av.
Duque
D’Ávila,
Nº
23,
1º
Dto
1000-­‐138
Lisboa
Portugal