robert | August 22, 2014 ‐ No Comments
The SXSW Panel Picker 2015 is now open! Here’s our pick of the transmedia panels. We’re bunched them into
Ok, this is one of our panels. Nataly Rios and Alison Norrington reveal the secrets behind The Chatfield hotel. We’ll discuss the opportunities that transmedia offers for the publishing industry:
- Creating worlds filled with characters and storylines that coexisting on different platforms
- Integrating books, webseries, blogging, social media and interactive games
- How brands and sponsors can be incorporated into transmedia projects to boost audience engagement.
Brand Cinema panel will discuss the challenges that brands face in the digital and interactive worlds:
- The possibilities that digital platforms provide for creating entertainment narratives and immersive experiences.
- Innovation is the way to stand out, but how can brands use digital networks to create new and exciting content and products?
This is another one of our panels. Belen Santa Olalla, Robert Pratten and Purificación González from Canal+ discuss the production and creation of 19reinos, the transmedia project that promoted the launch of season 4 of Game of Thrones in Spain:
- Spain was converted into a battlefield through a massive referral twitter game, complemented by a webseries, live events, location based quests and social media activities.
- Break down the creative process of an ambitious transmedia project.
Discuss about how to design big immersive experiences that captivate and engage audiences.
Pemberley Digital will discuss their reinvention of classic stories:
- Discuss the use of interactivity to engage with young audiences.
- Use social platforms like Youtube, blogs, Facebook and Twitter to bring the characters to life.
- Discuss the creation of multiplatform content and how pre-scripted and real-time narratives can coexist in an effective way.
Nolan Funk and Máté Bede-Fazekas will discuss their experience and screen their interactive film ‘Two Strangers on a bar’:
- Interactive film in which the audience will be able to use their phones to affect the plot and impulse the encounter of the two characters
- Reflection about the intersection of interactivity and filmmaking
- Discuss the different opportunities that interactive filmmakers have nowadays.
Watch here the interactive trailer of ‘Two Strangers on a bar’: http://in.fm/v/ab?vid=V1kwGz
This panel discusses Banshee, the first transmedia project for Cinemax:
- TV series in which each episode has its own comic book that can be used to discover characters’ back-stories and unlock online content
- The use of Vine platform to provide a glance to the characters’s lives, reflections and conflicts
- Discuss new ways of engaging viewers by using technology and digital social platforms.
The awesome guys at http://www.spektor.nl/ discuss the immersive experience of Swartzshield:
- Interactive project that takes the audience into the world of hacking and Internet freedom
- Create awareness and consciousness about privacy and corruption
- Discuss how gaming can be used to create a greater impact in audiences and to better explain social issues.
Carnegie Mellon University discusses their experimental media class:
- How can interactivity and transmedia projects ‘spark inquiry’ and provoke interest in social problems?
- Discuss how to explore sensitive issues by making use of interactive media.
Rattapallax will discuss their interactive comic book:
- The project combines a graphic novel and augmented reality to address issues of gender-based violence
- Discuss the use technology and art to initiate social change.
robert | August 13, 2014 ‐ No Comments
Writer/creator Leonie Reynolds talks about the creative, production and operational processes behind her 2hr pervasive game Frequency.
Interviewed by @robpratten
robert | August 12, 2014 ‐ No Comments
This demo shows Conducttr controls the journey through an Issuu ebook. The ebook is a regular PDF uploaded to Issuu and made Unlisted.
A link to the book is then embedded in Conducttr widget which works with the Issuu API to control what happens on each page turn.
Come check us out the SkunkWrx at the Conducttr Conference
Behind the magic: The NFC sticker behind the card is written to with the word of the Conducttr trigger matchphrase.
robert | August 11, 2014 ‐ No Comments
This is the presentation we gave at ARGFest in Portland, 2014.
Belen Santa-Olalla | August 6, 2014 ‐ No Comments
robert | July 25, 2014 ‐ No Comments
If you have then checkout SkunkWrx - part of the new Creative Hub at Conducttr. Lauching today you’ll find the first of what we intend to be many useful examples with open source code available at GitHub.
Check out this interactive YouTube experience that uses phone calls and SMS to sync and switch videos based on choices you make on your mobile while you watch.
Our philosophy has always been to free creative minds to do what they do best – create – and not worry about the technology. With the SkunkWrx code snippets and Conducttr you can separate coding activity from the code-less Conducttr tasks. This means writers & experience designers (in our terminology we call everyone “authors”) can develop, implement, playtest, and refine amazing multiplatform experiences without becoming master coders.
Check out this video that uses bluetooth beacon proximity to trigger Conducttr and have Conducttr change the color of the Philips Hue lightbulb. The code of this Android app is at GutHub and at SkunkWrx.
Please don’t hesitate to come discuss and debate your creative ideas with us at the Community!
robert | June 27, 2014 ‐ No Comments
We’re delighted to release the first version of what we plan to be an ongoing work – the Transmedia Playbook.
The purpose of the book is to stimulate ideas and inspiration. It’s a small catalog of participatory transmedia storytelling experiences intended to remind, suggest, provoke and inspire creators.
Please help us by sending ideas and examples so that we might update it!
robert | June 15, 2014 ‐ No Comments
Transmedia storytellers will often include live events and real world actions in their experiences. As a company that wants to blur the boundary between fiction and reality, we spend a lot of time thinking how creators should tackle this.
The four-circle diagram showing space, goals, tactics and narrative is an info-graphic created from Hannah Rocha-Leite’s graduate dissertation in which she explores the research into what creates an immersive experience.
Some time ago I decided on a definition of engagement to mean “being in the moment”. That is, completely focused without distraction of other thoughts. Looking at the diagram we can see how these four components seek to occupy our minds and minimize distractions:
- Space – control the environment so that it contributes to the experience and doesn’t distract
- Narrative – give the space context so that we read things the right way. For example, a shop assistant is no longer a shop assistant but an undercover agent.. at least in our minds. She may not know she’s playing that role for us
- Goal – the mind is occupied with the bigger picture, the purpose, the “how does this all fit together?” question
- Tactics – the mind is occupied with the immediacy of the situation and possibly other sensory inputs like touch and sound. For example, watching a reenactment is cool but getting involved by chanting, shouting or, say, waving a flag gets the participant closer.
Of all these, Space can be the most problematic to control and related to this the portal or boundary between the real world and the fictional world. Compare, for example, the work of Secret Cinema and Punchdrunk‘s The Drowned Man. Secret Cinema experiences usually start out in the street around the entrance to the carefully selected building (the location selection for the last two events I’ve been has been spot on and I’m beginning to feel like they must find the location first and then ask what experience can we create around this place). It’s like the fictional world is spilling out into the street – there’s a blurry boundary between fact and fiction. With Punchdrunk, I leave the street (where there is no evidence of what awaits) and then zigzag through a dark corridor or up an elevator. It’s a kind of like a diver’s pressure chamber that allows time for my mind and body to “normalize” to the fictional world and I feel like I’m leaving the real world behind.
For Canal+ we recently designed several live experiences in which the world of Game of Thrones was to come to Spain. Our fictional character, Edwyck, was to meet fans in the real world – in high streets and plazas and cinemas. But seeing a guy in costume doesn’t make an immersive experience! So one of our proposals were to erect a tent that looked like it belonged in that world and anyone wishing to meet Edwyck could step through the tent door to meet him. Hence our characters was “protected” from modern distractions like cars, neon lights etc. and the doorway provided a portal from the real to the fictional. Other proposal used pubs – a much better environment because we could convert them into medieval taverns. Using the pub sound system we could play our own fictional soundtrack to create the right atmosphere, we could use decoraons and potentially even smells.
From Transmedia LA, Hal Hefner’s recent live experience in the format of a cyber punk party, UNTHINKABLE COMPLEXITY benefited from the darkness to obscure out-of-world distractions and maximized with with many people in costume – some LARPing – and in-world table items like documents, flyers and the fetus-in-jar lamp shown here.
robert | June 1, 2014 ‐ No Comments
Note: the video is Rob developing an idea on the fly and you’ll see the mis-steps and retweaks as well as hear the thought process.
How its Played
Players find CCTV cameras around the city, text a unique code and watch pre-recorded video of a story unfolding at that location as seen by the CCTV camera.
To make things more interesting, players and actors wear armbands also with a unique code. Texting the armband code reveals “personal” information about that player or actor.
Some actors are agents of ctOS and will detect intrusions and disable access to the CCTV footage for 15 mins.
How You Make it
Do some location scouting, find a bunch of CCTV cameras and write a script for actors to play out within sight of the CCTV cameras. Use something like this to get the shots for cameras that are high up.
Then you’ll need either a map with the codes (location aware) or a map with cameras (location based). Players text the codes to unlock the content. In the case of the CCTV cameras it’s the scripted video.
For actors playing agents, some codes can lead to audio dramas of conversations that character has had with others or SMS “facts” or, if you have players register their phones and email you could send an email with a full written report.. maybe using the Watch Dogs inspired email template I created. It’s available at the forum.
robert | May 28, 2014 ‐ No Comments
The purpose of this post is to communicate the importance to transmedia storytelling of a good story, meaningful choices and less effort on the part of the audience.
I was inspired by this paper “Improving Computer Game Narrative Using Polti Ratios” by Richard Hall and Kirsty Baird to consider how I might create similar equations to evaluate the strength of transmedia experiences. Hall and Baird create three equations for assessing the strength of a narrative game..
Level of Drama(LoD)= P/E
–P = count of all Polti situations / E = events
Variety of Drama(VoD)= U/36
–U = Unique Polti situations / max 36 available
Involvement in Drama(IiD)= U/(M+5*C)
–U = Unique Polit situations /
–M = main characters
–C = minor characters
Here’s my version for transmedia which works towards a formula for “engagement” (for want of a better word) by looking at the author’s considerations when creating an experience – such as number of characters, channels of communication, touchpoints on and offline, impact of audience choices on the narrative and strength of the narrative.
Confusion Factor (Cf) = (M+C) * Ac
Immersion(I) = P/Cf
Agency* = (Consequences/Choices)
Engagement (E) = I * A / (T1 + 5*T2)
*For discussion of Agency I recommend reading this paper: “Commitment to Meaning: A Reframing of Agency in Games” by Karen & Joshua Tanenbaum