5. passive interactive participatory
Twitter
internet
ubiquity
mobile UGC
apps
games
IPTV
books
cable
plenitude
television
dvd
analog
television
scarcity
cinema
Market Conditions Audience behaviour
6. multiple
scheduled repeats asynchronous
digital
ubiquity
mobile digital
apps
ebooks networked
internet
IPTV
satellite
television
games digital / hard
cable
dvd television copy
analog
television
books
hard copy
cinema
Market conditions Content delivery
7. Digital cinema
110-115% mobile
phone penetration
Highest rate of smart phone
ownership in SE Asia
HD TV rollout
Market conditions Technology
10. Old media models
• Films: Studio system,
independent film financing,
DIY
• TV: Commissioning,
markets, re-runs
•Books: Agents, publishers
•Games: Developers,
publishers, proprietary
platforms
11. Old model
fundamentals
• Gate keepers “We
decide” what the public
wants / should get
• Middle men take a piece
of the pie
• Copying is stealing
• Works are authored by
one or two people, or
corporations
12. Old models don’t
work in the new world
• Technology allows us:
- to bypass gate keepers
- sell directly to our
audience
• Copying is:
- promotion
- distribution
- does not necessarily
diminish the value of your
work and may enhance it
• The economy is credit poor
and risk averse
13. Transmedia business
models
1. Sell access to the content
(goods & services):
•Subscriptions
•Unit sales (tix, virtual goods)
•License fees
•Format rights
2. Sell eyeballs on content:
•Advertising
•Product placement
•Branded content
•Public funding
photo by: anita ondine
14. New business models
New models include a mix of:
- ‘Upstream’ funding
➡Pre-financing transmedia
➡Public funding
➡Strategic partnerships
- ‘Downstream’ funding
15. Pre-financing
• Fundamental issue is lack
of data.
• Pre-selling participation in
various forms via platforms
like Kickstarter.com,
IndieGoGo.com.
• Pre-sales and licenses to
broadcasters / territories /
platforms.
16. Public funding
• National and supranational
funds still largely tied to
‘traditional’ media e.g.
interactive project grants
require there to be a film.
• Some regional funds are
more progressive and offer
purely interactive funding.
• Games and tech
innovation funding exists
but is scarce.
17.
18. Downstream funding
•Ad supported (and it’s
cousin brand
integration)
•On selling to online
platforms, broadcasters
at markets such as
MIPCOM
•Direct sales to market
19. American Girl Dolls Somers Town
“Pursuit of Bestness”
Ken & Barbie
Bing / Jay-Z Decoded
New Old Spice Guy
Downstream funding Branded content
21. Shared Value Models
• UGC contributors earn a
share of revenues.
• Pool vs. waterfall model.
• Increased flexibility
around treatment of
copyright ownership, joint
ownership, moving
beyond ownership.
• What other innovations
can we dream up?
22. Spain The Netherlands
Italy Germany
Malaysia
France
Australia
United Kingdom
Canada
Opportunities to Innovate New markets, lower barriers to
entry, no traditional gatekeepers
23. UK
Italy
France
Opportunities to Innovate Transmedia format licenses, like
TV formats
24. Expand market reach - new platforms
console games
television
telephone
film
web
ARGs
live events
mobile apps
25. Brainstorm for
business opportunities
Business opportunities Mobile market
28. Contracts
• Chain-of-title
• Collaboration agreements
• Licensing a pre-existing
work (note: some works are
freely available from the public
domain)
• Co-production agreements
• Financing agreements
• Employment Contracts
• NDAs
30. Trends in Copyright
• Attempts to expand criminal
penalties for copyright law
violations via SOPA & PIPA in
the USA, bypasses DMCA
safe harbor
• Copyright law reform in the
UK to bring some laws in line
with common practice, but
overall strengthen IP rights
• Use of Creative Commons
licenses
32. EU Data Protection Directive
The EU Directive sets out the principles that apply to the
processing of all personal data, including data collected in the
context of a transmedia experience.
Personal data should not be processed unless certain conditions
are met. These conditions fall into three categories:
1. transparency
2. legitimate purpose, and
3. proportionality
Also, no transfers out of the EU to countries that do not have
adequate data protection laws unless certain conditions are met.
These rules do not apply to anonymised data.
NOTE: New draft law was proposed on 12 January 2012.
33. photo by: anita ondine
“You must build the life
you want to live in.” rozh mutabchi
34. Transmedia...
grows because we grow
Stay in Touch
Twitter: @anitaondine
Facebook: Anita Ondine
Linkedin: Anita Ondine Smith
E: anita@anitaondine.com
www.anitaondine.com
www.transmedianext.com
