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.
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.