DirectSalesQRCodes(TM) is Now Launched for Integration in the Direct Sales Industry
In the same way that websites, MySpace URLs, and more recently Facebook pages started appearing in newspaper, TV, and newspapers ads, the public is now witnessing QR codes appearing in every form of traditional advertisements. Read Recent Case Studies Here. QR codes have been seen on a variety of direct mail pieces, retail clothing tags, movie posters, business cards, billboards, posters and now in Times Square.
TLP has now added these unique QRCodes as an interactive for use by Direct Sales’ brands for products and services. Like LegalQRCodes(TM), PoliticalQRCodes(TM), MedicalQRCodes(TM) and EventQRCodes(TM), this end to end subscription services ifs provided under an affordable Subscription Agreement with Google+1 and other Social Media integrations as well as a Google TV optimized site for delivery of content to connectedTVs in the Living Rooms of America.
TLP Adds Google+1 and GoogleTV Integrations to Subscriptions Services for PoliticalQRCodes(TM), LegalQRCodes(TM), MedicalQRCodes(TM and EventQRCodes(TM)
FROM EACH WEBSITE UPDATE:
June 28, 2011 UPDATE: We have included within the Subscription Service both a mobile Google +1 social media integration and a Google TV optimized site integration. Here is why Google+1 is important to your Campaign in networking your Supporter and Volunteers in “Circles” “Sparks” “Huddles” and “Groups”. Please watch the short videos below and imagine how this one Google+1 mobile platform integration can save your Campaign significant time and improve all supporter communication efficiencies in multiple new ways which simply cannot be accomplished by Facebook or Twitter. (Note: We have also included your Facebook and Twitter links in the mobile platform as well). Scan code below left or click on box to go to PoliticalQRCodes(TM) Website.
June 28, 2011 UPDATE: We have included within the Subscription Service both a mobile Google +1 social media integration and a Google TV optimized site integration. Here is why Google+1 is important to your Medical Practice in networking and encouraging interaction between with your Patients and their Families within “Circles” “Sparks” “Huddles” and “Groups”. Please watch the short videos below and imagine how this one Google+1 mobile platform integration can save your Medical Practice significant “doorknob time” and improve initial visit communications, lower repetitive information delivered during patient visits by providing a platform for them to speak with others who are going through similar circumstances, and provide post-visit communication and video educational efficiencies in multiple new ways which simply cannot be accomplished by Facebook or Twitter. (Note: We have also included your Facebook and Twitter links in the mobile platform as well). Scan code below left or click on box to go to MedicalQRCodes(TM) Website.
June 28, 2011 UPDATE: We have included within the Subscription Service both a mobile Google +1 social media integration and a Google TV optimized site integration. Here is why Google+1 is important to your Law Practice in networking and encouraging interaction between with your Clients and their Families within “Circles” “Sparks” “Hangouts” “Huddles” and “Groups”. Please watch the short videos below and imagine how this one Google+1 mobile platform integration can save your Law Practice significant “doorknob time” and improve initial visit communications, lower repetitive information delivered during client visits by providing a platform for them to speak with others who are going through similar circumstances, and provide post-visit communication and video educational efficiencies in multiple new ways which simply cannot be accomplished by Facebook or Twitter. (Note: We have also included your Facebook and Twitter links in the mobile platform as well). Scan code below left or click on box to go to LegalQRCodes(TM) Website.
June 28, 2011 UPDATE: We have included within the Subscription Service both a mobile Google +1 social media integration and a Google TV optimized site integration. Here is why Google+1 is important to your Event in networking and interacting with your Audience in “Circles” “Sparks” “Huddles” and “Groups”. Please watch the short videos below and imagine how this one Google+1 mobile platform integration can save your Event promotion significant time and improve pre-event, during and post-event communication efficiencies in multiple new ways which simply cannot be accomplished by Facebook or Twitter. (Note: We have also included your Facebook and Twitter links in the mobile platform as well). Scan code below left or click on box to go to EventQRCodes(TM) Website.
TLP Revises and Releases New Mobile Sites for PoliticalQRCodes(TM), MedicalQRCodes(TM) and LegalQRCodes(TM)
New Demo Mobile Site Platforms Accessed From QRCodes
Now Revised and Released.
TLP has revised the mobile sites for new demo reviews for: PoliticalQRCodes(TM), MedicalQRCodes(TM), Event QRCodes(TM) and LegalQRCodes(TM). National Sales and Marketing teams in 5 geographic regions are now being assembled by TLP’s national sales manager.
Please Scan this PoliticalQRCode(TM), the MedicalQRCode(TM) and LegalQRCode(TM). Below Scan to Codes Below to see a Representative Demo Mobile Site with Various types of Content (Video, Email, Website Link, PDF Article, Map for Directions, FaceBook Like, Twitter, etc) Download Free QRCode App Here. For iPhone … For Android
EventQRCodes(TM) is a niche service and is part of a QRCode suite of similar services deployed within other industries by The Legacy Productions, LLC. Our linked data, social media, WordPress sites and daily newspaper publications within each niche service was and is largely inspired by the industry reports and findings at SemanticWeb and Freebase.
Our political campaign clients and users leverage our end to end PoliticalQRCodes(TM) and TransMedia strategies to simplify and improve their Campaigns; maximize Return on Investment and Return on Objectives in the Campaigns; accelerate voter engagement capabilities; and empower Candidates with new tools to dynamically increase their reach and message lift to voters.
With integrated PoliticalQRCodes(TM) in TransMedia strategies, political candidates enhance their visibility and gain exposure using our “cutting edge technologies”. We help campaign managers promote their candidates as true leaders in technology. Our PoliticalQRCodes(TM) TransMedia strategies utilize this technology to enhance the voter and user experiences by promoting them and their messages.
LegalQRCodes(TM) was launched in mid-June 2011 accompanying PoliticalQRCodes(TM) and MedicalQRCodes(TM). Like PoliticalQRCodes(TM), The Legacy Productions has again extended its TransMedia Strategy for LegalQRCodes(TM) by integrating a Web 3.0 and the Semantic Web Daily Newspaper platform from Paper.Li. The LegalQRCodes(TM) Daily Newspaper is published in morning editions and evening editions where the content is semantically gathered from Twitter posts and Twitter lists which TLP has generated at the Twitter Site for LegalQRCodes(TM) and the FaceBook Site for LegalQRCodes(TM). Most if not all of the content is generated from Law Firms’ Daily featured content (i.e., Tweets, Posts, Articles, Videos) which LegalQRCodes(TM) is following on Twitter and FaceBook.
MedicalQRCodes(TM) was launched in mid-June 2011 accompanying PoliticalQRCodes(TM) and LegalQRCodes(TM). Like the other niche QRCodes services, The Legacy Productions has again extended its TransMedia Strategy for MedicalQRCodes(TM) by integrating a Web 3.0 and the Semantic Web Daily Newspaper platform from Paper.Li. The MedicalQRCodes(TM) Daily Newspaper is published in morning editions and evening editions where the content is semantically gathered from Twitter posts and Twitter lists which TLP has generated at the Twitter Site for MedicalQRCodes(TM) and the FaceBook Site for MedicalQRCodes(TM). Most if not all of the content is generated from Law Firms’ Daily featured content (i.e., Tweets, Posts, Articles, Videos) which MedicalQRCodes(TM) is following on Twitter and FaceBook.
TLP has now Launched LegalQRCodes(TM) – Currently Marketing to Firms in Illinois and Florida
The Legacy Productions has launched a new niche service to its TransMedia Campaigns. Unique QRCodes developed for Law firms can now connect them potential new clients. Legal QRCodes(TM) offers a comprehensive solution to law firms to leverage their existing social media, websites and print media advertising taking it into the 21st century where new clients with Smart Phones are waiting. We now provide an end to end, outsourced, solution to deploy instant, integrated, mobile applications to engage community members and new clients in the market demographics sought by the firms. Our core business model is to engage and drive new clients to Law Firms leveraging their existing print advertising campaigns. Our subscription fee includes the design, deployment and maintenance of all mobile applications and GoogleTV optimized sites so Law Firms may remain stay focused on your core tasks that are critical in a managing your firm.
Like PoliticalQRCodes(TM), The Legacy Productions has again extended its TransMedia Strategy for LegalQRCodes(TM) by integrating a Web 3.0 and the Semantic Web Daily Newspaper platform from Paper.Li. The LegalQRCodes(TM) Daily Newspaper is published in morning editions and evening editions where the content is semantically gathered from Twitter posts and Twitter lists which TLP has generated at the Twitter Site for LegalQRCodes(TM) and the FaceBook Site for LegalQRCodes(TM). Most if not all of the content is generated from Law Firms’ Daily featured content (i.e., Tweets, Posts, Articles, Videos) which LegalQRCodes(TM) is following on Twitter and FaceBook.
Our core proposition is this:
F: 350 Million Connected TVs In 2015 Q: If your law firm does not have an integrated optimized platform such as the GoogleTV site we provide in our service package, your firm may have a web site in 2015, but it will not be seen on these projected 350 Million connectedTVs. “The one certain consequence of a world with 350 million connected TVs is that every single company in all industries touching TV and video entertainment will be disrupted. Either they find a way to thrive in this world, or they will not survive.“ June 16, 2011 Media Post SOURCE.
What is it worth to a Law Firm to have a unique Internet TV Channel with its own Branding that plays 24/7 to connected TVs in the Living Rooms of America? Welcome to the world of connectedTV.
A: It’s worth everything.
TLP Now Adds PoliticalQRCodes(tm) in Color for Political Candidates
Click Box Above to to to PoliticalQRCodes(tm) Website
QRCodes were heavily featured in the June 13, 2011 GOP Debates covered by CNN. Political Candidates and Campaign Managers are looking for QRCodes with mobile functionalities and interactivity in managed Campaigns. TLP developed PoliticalQRCodes(tm) to respond to the tsunami for demand predicted in the 2011 and 2012 elections.
TLP Extends TransMedia Reach of PoliticalQRCodes(tm) with Daily Newspaper at Paper.li
Web 3.0 and the Semantic Web have added many new TransMedia opportunities to brand extensions and engagability factors. PoliticalQRCodes(tm) is a TransMedia service of The Legacy Productions. LINK. It has just launched its daily newspaper “PoliticalQRCodes Daily” within the Paper.li architecture. The newspaper will be updated every 24 hours and focus on: PoliticalQRCode application with GoogleTV and Mobile integrations, QRCodes in Business, and updates in the 2011 and 2012 political races.
Here is why we chose the Paper.li architecture. From it’s website the blog authors have stated:
According to a recent Pew Internet study, 75% of news consumed online is through shared news from social networking sites or e-mail. The social network of a reader is becoming their personalized news wire.
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work groups (based on Twitter lists or hash-tags)
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trade shows (generally based on Twitter hash-tags)
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news events (generally based on Twitter hash-tags)
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brands (generally based on Twitter or Facebook search queries)
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causes (generally based on Twitter hash-tags or search queries)
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geographical expansion, including additional languages support for Dutch, Italian, Portuguese, Japanese & Chinese
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multi-device support, including smart-phones and tablets
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paper customization features, e.g. removing/replacing ads, manual content curation
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platform API – integrate other content sources, integrate Paper.li technology in other services & media sites, etc.
TLP Adds New ConnectedTV Service via GoogleTV for Campaign Managers and Political Candidates
PoliticalQRCodes(tm) is now combined with ConnectedTV’s via GoogleTV. These combined services are now being offered to Campaign Managers, Consultants and Political Candidates. Candidates now have the opportunity to have their own proprietary channel on a GoogleTV optimized site offering all of its benefits (videos, pictures, text) in one location for Voters to watch on the web, on ConnectedTVs in their living rooms and on mobile devices. Voters can find the locations via PoliticalQRCodes(tm) which they scan on their cell phones from Political Candidates’ billboards, posters, business cards, websites, signage, TV Ads … just about anything printed. This is a game changer for the 2011 and 2012 political elections in the US.
OUR LINK TO POLITICALQRCODES(tm)
OUR LINK TO CONNECTEDTVPOLITICS
Why Google TV and PoliticalQRCodes(tm)?
TLP is offering a GoogleTV enable site as part of its value added service suite to Political Candidates and Campaign managers. TLP’s market research indicated a common complaint of campaign managers is the volunteers do not necessarily have the technical skill sets to be able to bring the campaign into a Web 3.0 environment.
The Internet and the 2008 Election by the PEW Internet and American Life Project, by June15, 2008
Some 40% of all adults have used the internet to get political news and information about the campaign so far, up from 31% at the same point in the 2004 presidential race.
Much of the growth in online news consumption since our spring 2004 survey has occurred among the young, those with college experience, and those who live in higher-income households.
Particularly notable is the rise in online political news consumption by African-Americans, 40% of whom (representing 67% of online African-Americans) now go online for news or information about the campaigns, up from just 19% at the same time period in the 2004 race.
Americans are contributing regularly to the political conversation using the internet, email, and text messaging.
In addition to capturing overall online news consumption, we also measure the intensity with which people engage in the online political debate by asking them how frequently they take part in the political process using the internet, email, and text messaging.
Internet users are going online with great regularity to learn more about the campaign and engage in political activities. One-quarter (27%) of internet users go online once a week or more to do something related to the campaign, and 8% do so once a day or more.
The third component of the online political discussion is text messaging, which we asked about in relation to politics for the first time in our spring survey. At the moment, text messaging is less of a factor in the political debate than the internet or email; 8% of those who use text messaging say that they send or receive text messages about the campaign or other political issues at least once a week.
In total, this means that 63% of internet users—representing 46% of all adults—are going online or using email or text messaging to take part in the political conversation and get news or information about the campaigns.
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COMMENT FROM TLP: This being the case in 2008, by far greater reason will the use of PoliticalQRCodes™ and GoogleTV enabled sites play a game changing roll in the 2011 and 2012 elections. Consider these facts in 2011 Studies:
Mobile bar code scanning has increased by 4,549 percent in the first quarter of 2011 on a year-over-year basis, according to a Mobio Identity Systems study.
Report May 2011: “The Naked Facts: Whiplash Edition QR Barcode Scanning in Q1-2011“ READ FULL REPORT HERE.
With the increase in smartphone purchases for both iPhone and Android devices, which have a pre-installed QR reader, there is growing awareness among consumers of QR codes compared to a year ago.
QR barcodes go mainstream
Women also show a higher interest in using QR codes, accounting for 68 percent of users.
These numbers have big implications for advertisers.
“QR barcodes are no longer just a way to speak to early adopters, or the geek crowd,” Mr. Binns said. “QR codes have gone mainstream and are being used heavily by women who are head decision makers and purchasers in households.”
Mobio offers target rich environments where advertisers use multiple barcodes tied to different outcomes or campaigns to engage their consumers multiple times.
The vast majority of mobile bar code scans are centered on providing more information about a product or service, with 89 percent of scans falling into this category.
In terms of the type of media scanned, social media accounts for 70 percent of scans, TV 22 percent, the physical world four percent, online three percent and print one percent. The iPhone is the most popular scanning device, followed by the iPod Touch and then, Android. The report also shows that consumers are not just trying QR codes once and forgetting about them, but are becoming repeat users of the technology.
In fact, repeat scanners account for 62 percent of the market.
For marketers, this means QR codes can provide a way to have an ongoing conversation with consumers.
“QR isn’t a one-off medium anymore,” Mr. Binns said. “Marketers can change their QR codes in ads each day, week or month, and have an ongoing dialogue with their consumer.”
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Return to PEW STUDY
Fully 35% of all adults have watched a politically related video so far. Some 16% of adults have read candidates’ position papers online, and 9% have read the full text of a candidate’s speech online.
Internet users are seeking out and engaging in a wide range of activities related to the campaign. The biggest surge has come with the spread of online political videos, which were hardly a force in internet users’ experience in 2004. Some 47% of online adults have watched at least one type of online political video (out of a list of five possible types of videos) in the past several months—this represents 35% of all adults.
Some of the video they are watching relates to material that was offered in news reports. At the same time, a large portion of it involves material that was not edited into news coverage. For instance, 27% of internet users have gone online to watch candidates’ speeches or announcements, and one-quarter have watched campaign-related videos that did not come from a news organization or the campaigns themselves.
Additionally, about one in five internet users (18%) has gone online to read a candidate’s position paper on a particular issue, and 12% have read the full text of a candidate’s speech online. The full-population figures for each activity are 16% for position papers and 9% for speech texts.
Taken together, these activities represent a movement away from political news and information that is filtered by traditional “gatekeepers” such as campaigns and the mainstream news media and toward an environment in which citizens make decisions about politics based on their own interpretations of primary campaign materials. Fully 39% of internet users (29% of all adults) have gone online to read or watch “unfiltered” campaign material, which includes candidates’ debates, speeches/announcements, position papers, and speech transcripts. That means a portion of voters are using the internet to learn more directly about campaign events that might have been comprehensively covered by traditional news media.
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COMMENT FROM TLP: These statistics from PEW concerning the 2008 Election soundly support TLP’s decision to offer both PoliticalQRCodesTM and a proprietary GoogleTV enable Channel to Political Candidates. The public was ready for this in 2008, but GoogleTV did not yet exist and QRCodes were not being heavily used in the United States. In 2011 the landscape has changed entirely. Use of QRCodes by Americans has increased 10 fold by some studies. American Voters are ready and will clearly use a GoogleTV enabled platform which is specific to a Candidate if it is populated with videos, aggregated news stories, speeches, position papers, pictures with relevant text comments and stories.
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Return to PEW STUDY
Although watching political videos and reading campaign documents are the most common online political activities, a second key aspect of the 2008 elections is the extent to which people are contributing to the political conversation. This includes signing up to receive campaign information, posting their own political commentary, forwarding things they find online to their friends and family members, or donating their time and money to one of the campaigns.
One in ten adults has forwarded or posted commentary or writing they found online, and similar numbers have signed an online petition or signed up to receive email from one of the candidates or campaigns. In total, 30% of internet users and 22% of all adults have done at least one of the nine activities listed below at this point in the 2008 election cycle.
Young adults dominate political video consumption and content creation.
Even among those who are wired and politically engaged, young voters stand out compared with their elders based on their consumption of online political video and creation of unique political commentary and writing.
This report is based on the findings of a daily tracking survey on Americans’ use of the internet. The results in this report are based on data from telephone interviews conducted by Princeton Survey Research Associates International between April 8 to May 11, 2008, among a sample of 2,251 adults, age 18 and older. For results based on the total sample, one can say with 95% confidence that the error attributable to sampling and other random effects is plus or minus 2.4 percentage points. For results based internet users (n=1,553), the margin of sampling error is plus or minus 2.8 percentage points. In addition to sampling error, question wording and practical difficulties in conducting telephone surveys may introduce some error or bias into the findings of opinion polls.
What is ConnectedTV Politics? It’s GoogleTV for Your Political Candidate.
The ConnectedTV Market is Enormous and Growing…
DisplaySearch forecasts that over 70 million connected TVs will be shipped in 2012-up from around 15 million in 2009.
SOURCE: “For over a year, we have believed that Apple will enter the television market by the end of calendar year 2012 at the earliest. While Apple’s commitment to the living room remains a “hobby,” we continue to believe the company will enter the TV market with a full focus, as an all-in-one Apple television could move the needle when connected TVs proliferate. We estimate that of the 220m flat panel TVs sold in 2012, 48% or 106m units will be internet-connected, of which Apple could sell 1.4m units. We believe an Apple television could add $2.5b or 2% to revenue in CY12, $4.0b in CY13 and $6.0b in CY14. Recent developments in Apple’s strategy, including the component deal we believe could secure up to 50″ LCD displays, bolster our confidence that the company remains serious about the connected living room.”
We feel these short videos will answer those questions.
TLP Creates PoliticalQRCodes(tm) as a TransMedia Agency Service and “End to End” Solution for Political Campaigns
QR Codes Are Taking US Politics by Storm – Outlook for 2011-2012
The number of mobile phones will exceed 5 Billion in 2010 according to the ITU; out numbering personal computers 5 to 1.
Facebook has over 500 Million users, over half the daily activity is via the mobile web.
Twitter recently exceeded 20 Billion text messages – The world is not going mobile–it is mobile. Very soon every human being on the planet will be connected 24 hours per day, 365 days a year. Every serious Political Candidate needs a mobile QR Code strategy.
CLICK BOX ABOVE TO GO TO POLITICALQRCODES WEBSITE.
It may be too late when you see your political competitors doing this before you do it. Find out why QR Codes Are So Important to YOUR CAMPAIGN:
The new TLP Microsite for PoliticalQRCodes(tm) states:
“Our political campaign clients and users leverage our end to end QR Code and TransMedia strategies to simplify and improve their Campaigns; maximize Return on Investment and Return on Objectives in the Campaigns; accelerate voter engagement capabilities; and empower Candidates with new tools to dynamically increase their reach and message lift to voters.
With integrated QR Code TransMedia strategies, political candidates enhance their visibility and gain exposure through with our “cutting edge technologies”. We help campaign managers promote their candidates as true leaders in technology. Our QR Codes TransMedia strategies utilize this technology to enhance the voter and user experiences by promoting them and their messages.
Our leadership and development teams focus on designing simple, easy-to-use TransMedia integrations with applications that, above all, generate heightened voter interactivity and engagement with the Political Candidate.
Based in New England but virtual in our global reach, TLP’s professional team works with your organization to integrate our solutions seamlessly into your Political Campaign. Whether a local, state or national campaign, TLP will strategize, create and manage your QR Code Campaign with dynamic, market-leading, applications and metrics. TLP has value added reseller and strategic affiliations with some the more progressive QR Code application providers and technology firms. We are committed to using and managing the most advanced technology tools and TransMedia integrations to support and enhance your Political Candidate.”
The Love Kitchen – TransMedia 4 Screen Syndication Strategy
TLP is assisting TheLoveKitchen with TransMedia, 4 Screen Packaging of the reality show which is now in development. Synopsis from Show Website. “The Love KitchenTM is a new seductive dating and upscale cooking show combing sex appeal and food. TLK unmasks the true personalities of the contestants by turning up the temperature on their first date. Forget the bedroom. Ever wonder what your date is like…in the kitchen? Our show uniquely pairs couples together in the kitchen, to see if they can stand the heat – and one another. “True personalities come out the first date,” says Hang Holyda, the Executive Producer. She should know. With a Masters in Psychology, she’’s been studying this a long time – and now she’’s created a show that puts it all into practice. You can learn a lot about a person during stressful situations. The kitchen is the perfect place to learn the truth about your potential love interest. “When stressed, it’s really difficult to contain one’s personality. Cooking can be stressful, or it can be sensual. The best experience involves a little of both. “ TLK is a cross between ‘The Iron Chef’ and ‘The Dating Game.” Cross-platformed Webisodes and Episodes offer delicious recipes to help viewers brush up on their culinary skills in a fun and competitive social setting. Each show involves two contestants competing to win over the main date with their culinary skills and charm by cooking one at a time in front of the date. In the end, the date chooses the winner as their future dating partner.”
And sometimes the kitchen experience is a total failure where the winning male or female would rather just go home.
Its light and full of surprises mixing secret ingredients, exotic dishes, challenging recipes and impossible situations to determine who makes the grade.”
The proposed Show Hosts are Maikka Weston and Scott Rose. The show is owned by Success Productions:
TLP Completes “Connected TV” White Paper – Latin TV Market Focus
Managed TV versus Over the top video
The impact of connected TVs on the TV industry (RequestPDF – contact button)
What You Need To Know: A Sixty Second Version
UNIVISION STATEMENT AT YOUTUBE: You’ve probably read the headlines: “New census milestone: Hispanics reach 50 million”; “U.S. Hispanic population tops 50 million” and one of our favorites “Los USA — Latino Populations Grow Faster with Wider Spread.” The U.S. Census numbers have confirmed that the Hispanic population has reached an important milestone, the 50 million mark. We are waking up to a new reality, a new face of America. The New American Reality video speaks to the unique experience of being Latino in America today. Univision is proud to Inform, Entertain and Empower the Hispanic community. To learn more about how we reach the Hispanic consumer.
March 18, 2010. Cable TV Is Doomed. “The death of cable television would probably still be inevitable without the Federal Communications Commission’s national broadband plan, which aims to expand broadband Internet access to 90% of Americans and dramatically increase access speeds. …We’re already familiar with two business models for web TV: Hulu’s ad-supported programming and iTunes’ micro-payment system of about $2 per ad-free show. Both of these are preferable to cable not only because they’re more cost-effective but because they allow the viewer a greater degree of control. You only pay for what you watch, whereas with cable you pay primarily for things you’ll never watch. Americans watch on average 5 hours of TV a day, so a cable subscriber with 100 channels is only consuming 0.2% of the programming he or she is charged for. With the average cable bill swelling to $64 a month in 2009 from $47.50 a month in 2004, ditching cable for web-based TV is an increasingly attractive option.
It is well known the broadcast television industry faces an unprecedented crisis amid a global economic downturn. News and industry experts have reported a dramatic fall in TV advertising spends, in many countries up to 50%. … and earnings drops to levels of 1995. There has been a multiplication of channels, brand confusion, and an ongoing fragmentation of audiences … An increasing number of bankruptcies of networks and production companies populate the news channels. This trouble in the global broadcast industry is well known by now.
An average of 179 Million Americans watched online video each month in 2010. Engagement levels also rose, with viewers watching online videos more frequently88.6 million people watched online video on an average day in December 2010 (up 32 percent from December 2009), while viewing sessions totaled 5.8 billion for the month (up 13 percent). The average American spent more than 14 hours watching online video in December, a 12-percent increase from last year, and streamed a record 201 videos, an 8-percent increase.
In February 2008 the average Hispanic-American over the age of 11 spent more time online than watching television, according to the Terra Networks-sponsored “Hispanic Syndicated Study,” conducted by comScore Media Metrix. In general, online Hispanics—independent of their language preferences and acculturation levels—are heavily engaged in technology,” wrote the report’s authors. Every day, more than half (56%) of Hispanic-Americans surveyed said they spent at least an hour online, which was slightly more than the 50% who spent an hour or more watching TV. On a weekly basis, Terra reported that more Hispanic-American Internet users spent 13 or more hours online (30%) than watched TV for the same amount of time (23%).
Telemundo Internacional chooses TVU for live Internet broadcasts for its blockbuster Telenovela series “Decisiones” Mountain View - August 15, 2008 – Telemundo Internacional, an NBC Universal division deemed the preeminent leader in Latin American television worldwide, and TVU Networks, a global live Internet TV service with a user base of 18 million viewers in 200 countries, jointly announced today the addition of a Telemundo channel dedicated to its chart-topping series “Decisiones” that will be available worldwide excluding Mexico and the US.
October 14, 2010 Article: TV revenue growth in Latin America set to explode “TV revenue in Latin America will be worth $18.5 billion in 2015 – up more than 50% on the 2009 total, according to a new research report from Informa Telecoms & Media. Latin American economies are showing signs of long-term strength, signalling big growth for television services in the next five years. “Greater economic resilience is now allowing the Latin TV sector to enjoy stable growth – putting it in its best position for decades,” said analyst Adam Thomas. In other words, with more disposable income floating around, subscribers are more likely to pour it into living-room entertainment. The growth will be so significant as to reduce the North American market’s dominance in pay-TV uptake over the next five years: Informa is forecasting that pay TV subscription numbers are anticipated to reach 57.3 million by the end of 2015 in the CALA region, up 57% from 36.6 million in 2009. In contrast, the U.S. in 2009 had 96 million digital households – almost 80% of the pan-continental total. By 2015 its statistical dominance will decline to accounting for 63% of the Americas total. Informa is expecting consistent growth in digital TV too, with the Latin region forecast to almost quadruple in size from 15.9 million digital TV households at the end of 2009 to 57.1 million by 2015. Brazil and Mexico combined to account for 51% of digital subscribers at the end of last year, their combined regional share will edge up to 54% during the forecast period.
What is TransMedia Syndication and Distribution? Fiction Without Limits …
TransMedia stories, at a most basic level, are stories told across multiple media platforms. At the present time, the most significant stories tend to flow across multiple media platforms which give rise to new revenue models where broadcast and narrowcast models converge in a new integrated business plan. Cross-platform integrations give rise to new Story Worlds.
TransMedia storytelling is not just a symbolic exercise: Transmedia storytelling –> More $$$$$$
How does TransMedia connect with a shared story world environment? What are the economic opportunities for content creators, producers, distributors, and syndicators in 2011? For those with a creative mind, the answers are now seemingly limitless. Can TV content libraries be re-purposed and inserted into a larger story or narrative which takes that broadcast serial content, dramatic or news content into the fabric of a much larger and new Story Narrative? The answer is yes and we call it TransMedia, particularly when it involves multiple integrated screens from digital signage, mobile devices with ARG (augmented reality), web site embeds and Connected TVs . An re-mixing which observes intellectual property rights is permitted … in fact it’s advisable in this brave new frontier of TransMedia:
It is sometimes called a shared “Story World” approach where transmedia strategies explore new creative and economic opportunities for monetizing every new view of the shared and new content. When audiences are invited to contribute to an entertainment experience in a variety of ways, multiple opportunities for Anchor Sponsor and advertiser engagement arise that cannot be found in a tradition Broadcast environment.
Such a new Story World often begins with a single story and a single property. It could be a novel, a graphic novel, a movie, a TV serial, dramatic or news program. And it may begin as a serialized narrative: say, a TV show, a comic series, or a movie or documentary property. It may also represent only art forms (i.e., images, photographs, etc.), role-playing or alternate reality gaming properties, or an animated cartoon series. Irrespective of the mediums involved (i.e. and the medium is the message) or the source content (new or re-purposed), a shared Story World narrative is not the same as a single work. As its label describes, it is an entire is a world a new universe of story based economic opportunities diversified and strong enough to support multiple new monetized, creative works but flexible enough to encourage and support audience participation.
Documentary + Game = Independent TransMedia Project called “The Great Work” — a project consulted on by Lance Weiler
“The Greak Work” is a documentary by two Swedish filmmakers, Oskar Östergren & Fredrik Oskarsson (details at the end) about 30-year-old Christer Böke from Malmö, Sweden. He has taken one year off from his well-paid job as an IT-salesman to become a full-time Alchemist. The film concerns mankind’s eternal ambition of wealth and immortality and one mans dedicated struggle to solve “The secret of all secrets”. This struggle is known at The Great Work.
What’s particularly interesting about this project is that the filmmakers have teamed up with an independent game designer, Niflas, to create a game to complement the movie.
The Great Work was screened on SVT (Swedish Television) as a 58 minute version, winter 2011.
Lance Weiler is considered to an early adopter and cutting edge developer in the world of TransMedia.
THE EVOLUTION OF STORYTELLING. Technology is impacting the art and craft of storytelling. As the industry shifts and audiences move from passive to active collaborators, how does the art of storytelling change? How does one develop stories and characters that can travel across screens and devices? What will emerge as new formats and how will they be funded and distributed? Lance Weiler, director of The Last Broadcast and Head Trauma, details the story architecture that he employs to build story worlds around his film, TV and gaming projects.
Early this year production company Vectorform says it went down the transmedia rabbit-hole with award winning writer/director Lance Weiler. They popped up at the Sundance Film Festival–where they helped unleash Pandemic 1.0, a fictional story of a viral outbreak that took the festival by storm. Spanning film, mobile, online, real world and more, Pandemic 1.0 was a digital virus that spread— or receded–based on player interaction. Vectorform created a mobile experience featuring Near Field Communication (NFC) integration for 50 Nexus S devices, and a Microsoft Surface dashboard for Mission Control.
The Witness – The first movie in the outernet
In Augmented Reality Film, Your Smartphone Solves the Crime. In “The Witness,” viewers become participants in a clever fusion of filmmaking and augmented reality. Why does Europe get all the cool stuff? Here in America, all we get from SyFy are bad monster-movie mashups; but in Germany, SyFy (or rather, its parentborg, NBC Universal) mounts innovative original fare like “The Witness,” which blends gritty drama with immersive augmented reality. Forget the internet — they’re dubbing this “the first movie in the outernet.” “The Witness” works like a smartphone-centered fusion of a traditional thriller and an interactive ARG: German viewers applied to participate online, and the “winners” got to enter a real-life version of the movie in which they play a role, using their phones to watch snippets of the film that play out like a virtual layer over the physical scene they’re standing in. For example, when the “film” begins in a Berlin hotel at the scene of a kidnapping, the player/viewer is literally standing in the same room where the scene took place, holding their phone up over it like a window to watch how it plays out — and then interact with it like a Choose Your Own Adventure book, as The Visual News explains…. You can either choose to solve the crime and save the day, or (intentionally or not) end up a red stain on the concrete.
The Truth About Marika as a Cross-Media Production – Extraordinary Results
The Truth About Marika (Swedish title: Sanningen om Marika), is a cross-media production by Sveriges Television (SVT) and The company P. It is an alternate reality game and a TV-series first aired in Sweden during the autumn of 2007. The Truth About Marika was marketed as a “participation drama” and had a high amount of viewer participation. The viewers of the TV-series were invited by a young woman to participate in the search for her lost friend and the search took place online and all over Sweden. The Truth About Marika took place on television, national radio, the internet, mobile phones and in the streets. Each week the theories of the search for Marika were discussed in a live TV-debate. The events depicted on the television show was partially altered by the actions of participating viewers.
Collapsus is the future of storytelling – It is the Definition of TransMedia
Collapsus is a project that combines animation, interactive fiction, and documentary film. This story follows how the impending energy crisis affects ten young people, while international powers battle with political dissension and a fearful population during transition from Fossil fuel to alternative fuels. Set in the near future, Collapsus was initialized to raise awareness of the global issue of peak oil. Collapsus was developed by SubmarineChannel, with the Dutch public broadcaster VPRO, who produced the associated Energy Transition documentary the project is based on. Collapsus is directed by Tommy Pallotta, who produced A Scanner Darkly (film) and Waking Life.
TransMedia + Social Media + An Entertainment Property = Audience Engagement
In the new film Source Code, there’s an interactive digital StoryWorld developed in the film’s marketing campaign. It’s a successful technique which TV serials, webisodes, mobisodes and bonus content promotions could easily integrate.
It”s a first for Summit Entertainment. That’s the studio producing the thriller, Source Code (Jake Gyllenhaal) which has a social media game called Source Code Mission that can be activated by Microsoft Tag technology within the movie poster. That bit of code, which any smartphone can read, will lead to a game that takes 10 to 20 minutes and is based on the movie’s plot. It features Gyllenhaal returning to the scene of a bombing of a Chicago commuter train and trying to change the outcome.
The use of social media games to spur interest in entertainment properties is growing rapidly. In January, Starz launched the series Spartacus: Gods of the Arena with a Facebook game and an iPad app. In that same month, the CW also publicized the new season of Gossip Girl with a Facebook game. More recently, Paramount Pictures promoted the animated Johnny Depp movie Rango with a tie-in with Zynga’s FrontierVille game.
TransMedia companies worldwide are jumping into this highly creative and profitable arena integrating TV series, webisodes, mobisodes with social media and digital interactivity. It is a Wild West environment when brands request it. And they are …
Brand integrations into these TransMedia projects with 360 degree multiplatform distribution and syndication are the new media and the medium.
In a TransMedia World … The Mobile Ad Market is Exploding – Up 36%
Rhythm NewMedia releases metrics every quarter to help you evaluate the effectiveness of your mobile video ad campaigns and to learn best practices. Data points are based on ads served across iPhone, iPod Touch, iPad, Android and other devices in the US market. In Q1, Rhythm served over 728 million average monthly content views in the US, up 36% Q/Q. The data points cover ad campaigns from over 70 Fortune 500 brands in Q1 2011.
Key findings for Q1 2011 include:
- Huge growth in mobile video advertising: 200+ brands in 2010, 70+ in Q1 2011, 36% quarter over quarter growth from Q4 to Q1
- Combine video ad units for maximum effectiveness: Each video ad unit provides marketers with a different, effective approach to deliver their brand message
- In-Stream Video ads outperform all other video units: High average completion rate of 87%
- In-Stream Video advertising performs best with greater reach: 22% higher clickthrough rates on run of network, broad reach, campaigns due to in-stream video advertising’s immersive and brand building nature that captivates all targets
- Interactive Pre-Roll is more effective between screens: Video completion rates average 36% between screens vs. 23% at app launch
- Entertainment, Telecom, CPG top categories: Brands in those three categories ran the most campaigns this quarter
Mobile video ad impressions averaged 728 million a month in the first quarter of 2011, up 36% from the prior quarter, according to new data from mobile video ad network Rhythm NewMedia. More than 70 marketers ran campaigns during the quarter, about the same as in the fourth quarter.
Rhythm data is based on ads served across the iPhone, iPod touch, iPad and Android and other mobile devices in the U.S. HBO, Kraft, Disney and Marriott, among other brands, use the company’s network to run pre-roll, tap-to-play and in-stream video ads on the apps and mobile sites of various publishers, including CBS, Fox, NBC, Discovery and AP.
Among the three ad types, the in-stream unit, which plays as a commercial break during full episodes or before video clips, had the highest completion rate: 87%. The pre-roll, which automatically plays when an app is launched or between game levels, had a 27% completion rate, and the tap-to-play ads, requiring a user to tap on a display ad to run, a 21% rate. (Unlike most pre-roll ads on the PC-based Web, viewers can skip the Rhythm pre-roll ads, contributing to the lower completion rate.)
When it comes to click-throughs, the tap ads, which may appear when a user is browsing photos, articles or playing a game, had the highest rate, at 7.2%, compared to 4.5% for pre-roll, and 1.3% for in-stream.
Rhythm suggests advertisers can increase the effectiveness of ad units, depending on how they are used. For instance, in-stream ads perform best in run-of-network campaigns, where the click rate increases to 1.4% from 1.1% on targeted sites or a single site. For pre-rolls, completion rates increase from 23% to 36% when run in between screens instead of at launch.
New Marketing Option Can Combine iTV and Mobile – TLP Incorporates “IntoNow” in TransMedia Packaging Services
THE NATIONAL BRANDS ARE WEIGHING IN …
Large advertisers have indicated a strong desire for strategies to capitalize on both interactive TV and mobile platforms. An opportunity to combine the two is now available and it is being incorporated by savvy TransMedia companies.
Pepsi thinks so. So do a number of other NATIONAL BRANDS.
One driver (observable by all) is the consistent trend of young consumers – and older ones, too – who are unable to put down a handheld device while watching TV. It’s digital multi-tasking and it’s prevalent worldwide.
Consider this … Within this interactive TV arena (computer screens, mobile screens, Connected TVs), a “request for information” or RFI ad enters the marketplace as a TransMedia campaign option to producers and sponsors and advertisers. How does it work?
In the Broadcast world … It is simple. Watch an ad, use the remote control to click on an embedded banner, and have a coupon or product sample sent to the home.
In the Connected TV and Mobile Device World … Enter technology from IntoNow, which since January has focused mostly on facilitating social-media interaction, while watching a program. So, using Apple devices – iPhone, iTouch, iPad – a viewer can use an app. By pointing iPhone, iTouch, iPad at the TV screen, details about what’s being watched are zipped onto a Facebook page or Twitter feed.
It’s granular and highly interactive with a social media tie-in. So one can alert humankind that he or she is not just watching “Dexter,” but they are watching “Dexter” season two, episode six. This IntoNow system can identify episodes from five years’ worth of programming on 130 networks.
Clearly, the functionality leaves ample opportunities for broadcasters, TransMedia companies, sponsors and advertisers, which works virtually the same as the RFI options with iTV. There is a major difference, however, with no pricey snail mail required.
Pepsi is the initial advertiser to take advantage of the IntoNow system. Think of these ramifications. In its campaign, a person can point at a Major League Baseball-themed spot and have a digital coupon — in the form of a bar code — beamed to their Apple device. The viewer can then show the code at a store, where a scan brings a free bottle of Pepsi Max. Pepsi is offering the opportunity to 50,000 people, with redemption opportunities at Target and CVS at first. It is partly being promoted with cards handed out at baseball games.
The IntoNow opportunity offers advertisers valuable performance metrics. If only 25,000 go for the free Pepsi, there’s critical insight to be gleaned, stretching from how well a gambit was promoted to whether consumers prefer to watch TV via DVRs. Or will even seek out a commercial on YouTube.
Besides a bar-code coupon, the system opens up the chance for a marketer to send users more information about a product, or a link to a video about a spiffy car – both aspects of the RFI, iTV movement. Eureka! … than a company that allows songs to be identified with a mobile device, offers a similar advertising opportunity that could function as an iTV-replacement option and run a campaign with Old Navy.
IntoNow can recognize a show even if it’s airing live for the first time. We also have an index that covers more than 140 million minutes of previously aired shows. That’s the equivalent of 266 years of video! Our catalog represents more than 2.6 million airings, indexed during the past five years, and it’s growing by the second.
It’s Robust and Scalable (From the IntoNow Website)
SoundPrint is what’s known as a “fingerprinting” technology. We’ve developed a series of algorithms that can quickly identify a show based on the audio from that program. And because we can do it so quickly—even for shows that are airing for the first time ever—the end result is something like magic.
TLP is integrating the IntoNow mobile platform into its TransMedia Packaging services menu.
The Right Message … At the Right Time … To the Right Audience.
TLP Adds FusionTalk Video Emails to Interactive Slate of TransMedia Tools
For years TransMedia companies have searched for a suitable and attractive interface for the delivery of video email messages. A GetResponse “2010 Email Marketing Trends” survey was conducted online from January 27 to February 5, 2010. When a group of small to medium size business marketing companies were asked if they used video email in 2009 and plan to use it in 2010, only a combined 15.7% of respondents said they used it last year. However, more than 80% of respondents plan to use video email this year, with 11.9% saying they used it last year and will increase usage this year.
Video Emails Seen as Conversion Tool
Almost 66% of respondents said video email can result in significant or moderate increases in conversion rates. Click Through Rates (CTR’s) in response to a call to action is the coveted goal of email campaigns. In TransMedia Campaigns, Brands want to be assured a video email spend will also return interactive results with metrics and usable data points. TLP has chosen FusionTalk as its preferred Video Email interface, where we use and manage it to design a customized video email campaign as part of a suite of TransMedia tools designed to get Click Through Rates and response to a Brand’s call to action.
TLP Following 2011 Video Trends for TransMedia Packaging
Online Viewing Stats:
comScore Video Metrix data shows that 174 million US internet users watched online video content in March 2011 for an average of 14.8 hours (888 minutes) per viewer. The total US internet audience engaged in more than 5.7 billion viewing sessions during the course of the month. Unique viewers were up 2.5% from 169.65 million in February 2011 and down about 3% from 180.2 million in March 2010. Viewing sessions were up 15% from about 5 billion the prior month, and average time per user was up about 9% from 816.4 minutes.
Mobile Video Popularity Jumps 41%
In Q4 2010, 301 million Americans used a mobile phone; of those mobile subscribers, 24.7 million watched video on a mobile phone. This marks a 41% increase from roughly 17.5 million mobile video viewers in Q4 2009.
Nielsen analysis indicates the growing popularity of mobile video is due, in part, to the rapid adoption of media-friendly mobile devices, including smartphones, which make up 30% of the marketplace.
Demographic Stats:
Almost eight in 10 (77.9%) US online video viewers are white, according to [pdf] data collected in November 2010 by The Nielsen Company. Hispanics represent the second-largest ethnic market for online video consumption, representing 12.1% of online video viewers.
Teens Consume Most Mobile Video
Younger consumers ages 12-17 are the heaviest mobile video viewers, watching an average of seven hours and 13 minutes of mobile video a month during Q4 2010. Mobile subscribers on average watched four hours and 20 minutes of mobile video a month in Q4 2010.
Middle class households with children younger than 18 earning $50,000 to $74,999 annually also use the internet at a disproportionately high rate. These households constitute 11% of the internet universe, a 37.5% larger figure than the 8% of the total US population they represent. Interestingly, lower class households with children younger than 18 earning less than $50,000 annually use the internet at a 33% higher rate than their share of US population (16% compared to 12%), meaning they are more likely to be online than middle class households.
Other Findings
- Almost three-fourths of Americans older than age 18 were married in 1960, but only 52% are today.
- Hispanics represent the fastest-growing segment of the multi-cultural nation, growing 40% in the past 10 years and numbering 50 million people.
- Households with children younger than age 18 will be predominantly multi-cultural by 2020 (Hispanic, African-American and Asian-American); 40% already are multi-cultural today due in large part to immigration.
- High income families view less TV but spend more time viewing with kids, using time-shifted media four times more often than low income households.
TLP Recommends “Finding the GAP” and “Disruptive Change” in TransMedia Strategies
Observations and insights are not the same thing. In TransMedia, this is very important.
Observations mean raw data. It’s a gradual accumulation of research information … that one consciously and carefully records— exactly the way we saw or heard it … no interpretation added.
By contrast, insights are the sudden realizations. We know them as “Aha!” moments! They happen when we interpret the observations and discover unexpected patterns.
It’s all in the patterns … that reveal gaps between where people are now … and where they’d ideally like to be. It’s the same with Brands. It’s a place between now … their current reality and their desires for change in the market circumstances. It’s described as a rift between the way something is now … and the way people assume it should be.
And whenever and wherever there is tension (observation), there is a GAP. In TransMedia we call that an OPPORTUNITY … and for it to be highly effective … it must be DISRUPTIVE IN THE MARKETPLACE served by a Brand.
APPMARKET.TV reports: Transmedia has been a buzz word for a while, but today it’s rapidly rising up the radar, with content creators increasingly interested in finding innovative ways to create stories that arc over various platforms, providing consumers with multiple entry points. A new trend reportfrom JWT, the world’s best-known marketing communications brand, explores why this trend is bubbling up right now, how it’s significant for marketers and where it’s going.
Understanding what transmedia means and how to develop relevant experiences that give audiences multiple entry points will be increasingly important for marketers as transmedia transitions into the status quo. The report, “Transmedia Rising,” provides an introduction to transmedia fundamentals: It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some of transmedia’s milestones, from Disney to The Matrix and beyond.
“This is an era characterized by social media, multiple screens and empowered consumers, and transmedia leverages all of that while using age-old storytelling and marketing techniques,” says Ann Mack, director of trendspotting at JWT. “For marketers, transmedia presents new opportunities for capturing consumers’ time and attention-with the potential to enhance brand mythology and create more brand evangelists.”
Take the following example. A secretary picks up a SmartPhone and dials an important number. If she dialed the number and it was for her work does anyone really care? But if the secretary decides to scroll through the recent calls placed on the phone by her boss … takes a look at the photos stored on the phone, watches a few videos, updates her FaceBook posts and shoots out a few Twitters … Well … then if her boss finds out she’s looking though his contact list and finds a few work colleague female names that should not be there … and then the boss finds out. What do you think? Would she still have a job? The tension builds … and when disruption is thought about today in the TransMedia marketplace … Brands are seeking differentiation and ways to step out of the massive “clutter” in advertising …
To do that … NOTHING IS BETTER THAN A GOOD DISRUPTIVE INFLUENCE.
Tension like this story about the secretary is the focus and at the bulls eye of each compelling story that captures an audience’s attention. It is not surprising that TransMedia pitches must include this type of analysis for them to be effective. Often and sadly they do not.
Consider the dull stories that broadcast :30 second spots continue to deliver to a bored audience. A man meets a woman and they live happily ever after. Where is the tension in that? Or in the 1960′s style of advertising, a product like washing detergent meets a consumer with “big hair” who smiles and lives happily ever after.
Really?
It’s not believable and it’s not emotional. And where this is no emotion? No sale… It’s a fairly simple formula. So if a Brand intends to capture an audience’s attention or interest, it needs a major element of tension that throws status quo out the window.
Back to the secretary’s story … assume the secretary picks up the phone … scrolls through the pictures … finds one of herself … clicks on it and sees an invitation from her boss to go out to a swank restaurant that very evening. As she and the audience realize he (the boss) left the phone there for her to find it and he then walks into the room and they embrace.
A title rolls up and says [_____] SmartPhones work in unexpected ways. The tension is resolved and the audience buys into the solution.
A presentation without tension presented and tension resolved is lifeless … emotionless. It’s not effective storytelling which good TransMedia StoryWorld building requires today.
TransMedia storytelling IS THE NEW MEDIUM. It constructs a story and serves it across different platforms. It invites audience participation and collaboration and is simultaneously linear, nonlinear and multi-dimensional. Both individual and collaborative, TransMedia gives the audience what they want and WHEN THEY WANT IT.
TransMedia storytelling is not the simply taking content and ‘repurposing’ it for different media. TransMedia builds a story universe (what researchers and creators call a narrative). TransMedia invites the audience into a StoryWrold. The storytellers capitalize on the characteristics of each medium of delivery—traditional and new—to created, re-create and contribute to a distinct part of the narrative which is satisfying as a standalone experience. And at the same time, each part as well adds a meaningful and unique contribution to the overall story experience – individual and collective. TransMedia storytelling boasts and uses multiple points of entry making the StoryWorld accessible to different types of consumers, audiences and media-users. TransMedia, at the end of the day, relies on the audience for interactivity and response to calls to action treating them with respect at all times. TransMedia does not “sell” them, but instead invites them to become co-participants to join, expand upon and even change the narrative.
MIPTV 2011 – Major Broadcast TV Cases Studies of TransMedia Strategies = $$$$$$
Discover the latest developments in recent TransMedia strategies and applications deployed by major producers and distributions of content. Learn how to make sense of multitude of development platforms and emerging distribution channels: TV program content delivered on rich media tablets and the latest smart phones via Apps Internet/TV apps and widgets, running on the new internet enabled tv sets.
Speakers with demos include: David Jullien, Director, Business Development, Digital Gaming, Endemol Worldwide Brands, Jeroen Elfferich, CEO, Ex Machina, Tom McDonnell, Commercial Director, Monterosa, Daniel Saunders, Head of Content Services, Samsung Electronics Europe, and Patrice Slupowski, VP, Digital Innovation and Communities, Orange . Social TV Apps, which enable consumption of TV programs on social media platforms, and build communities around TV programs through tablets or internet TV sets. This session explored both the creative and business opportunities and challenges around creating and marketing TV Apps. What is the potential of social TV? What is the future beyond TV Apps?
IT’S ALL ABOUT TRANSMEDIA …
Moderator
Richard Kastelein, CEO, Agora Media Innovation and Publisher, Appmarket.tv
Speakers
David Jullien, Director, Business Development, Digital Gaming, Endemol Worldwide Brands
Jeroen Elfferich, CEO, Ex Machina
Tom McDonnell, Commercial Director, Monterosa
Daniel Saunders, Head of Content Services, Samsung Electronics Europe
Patrice Slupowski, VP, Digital Innovation and Communities, Orange
TLP TransMedia Overview for 2011- How Can Brands Benefit?
Click Above to Download PDF
1) What is a Transmedia Narrative?
2) What are some recent examples?
3) What makes TransMedia Stories interesting to an audience?
4) What does it mean for your Brand and how is it Monetized?
5) How Is A TransMedia Strategy Initiated?
Why SmartPhone Integrations are Included in TLP TransMedia Strategies – 2011
May 5, 2011 Report: The worldwide smartphone market grew 80% in the first quarter compared to a year ago as manufacturers rolled out much-anticipated new devices and prices on older models dropped, according to new data from technology research firm IDC. The number of smartphones shipped in the quarter nearly doubled to 99.6 million units from 55.4 million a year ago.
2011 Recent Study: Greg Sterling, principal of Internet and mobile research firm Sterling Market Intelligence, says mobile cameras will likely overtake consumer-level standalone digital cameras, in terms of technological capability, within three years. Sterling also added that 50 percent of cell-phone users in the United States will likely have smartphones by 2012. 71% of smartphone users search because of an ad they’ve seen either online or offline; 82% of smartphone users notice mobile ads, 74% of smartphone shoppers make a purchase as a result of using their smartphones to help with shopping, and 88% of those who look for local information on their smartphones take action within a day.
The findings of this recent 2011 study have strong implications for businesses and mobile advertisers. TLP integrates SmartPhone interactivity access and entry points into TransMedia Strategies because consumers regularly use their phones to find and act on information. Incorporating location based products and services are recommended because it makes it easy for mobile customers to reach Brands. A recent finding is local information seeking is common among smartphone users. Developing a comprehensive cross-channel strategy makes great sense because mobile shoppers use their phones in-store, online and via mobile website and apps to research and make purchase decisions. Finally, TLP recommends implementing a TransMedia strategy with brand integrated mobile advertising that takes advantage of the knowledge that people are using their smartphones while consuming other media and are influenced by it.
- 81% browse the Internet, 77% search, 68% use an app, and 48% watch videos on their smartphone
- 72% use their smartphones while consuming other media, with a third while watching TV
- 93% of smartphone owners use their smartphones while at home
- Search engine websites are the most visited websites with 77% of smartphone users citing this, followed by social networking, retail and video sharing websites
- Nine out of ten smartphone searches results in an action (purchasing, visiting a business, etc.)
- 24% recommended a brand or product to others as a result of a smartphone search
- 95% of smartphone users have looked for local information
- 88% of these users take action within a day, indicating these are immediate information needs
- 77% have contacted a business, with 61% calling and 59% visiting the local business
- 79% of smartphone consumers use their phones to help with shopping, from comparing prices, finding more product info to locating a retailer
- 74% of smartphone shoppers make a purchase, whether online, in-store, or on their phones
- 70% use their smartphones while in the store, reflecting varied purchase paths that often begin online or on their phones and brings consumers to the store
- 71% search on their phones because of an ad exposure, whether from traditional media (68%) to online ads (18%) to mobile ads (27%)
- 82% notice mobile ads, especially mobile display ads and a third notice mobile search ads
- Half of those who see a mobile ad take action, with 35% visiting a website and 49% making a purchase
Connected TVs: New consumer research from Leichtman Research Group, Inc. (LRG) finds that 30% of all households have at least one television set connected to the Internet via a video game system, a Blu-ray player, and/or the TV set itself — up from 24% a year ago. Overall, 10% of all adults watch video from the Internet via one of these devices at least weekly, compared to 5% last year. This increased usage is heavily driven by Netflix subscribers, with 30% of Netflix subscribers watching video from the Internet via one of these connected devices weekly, compared to 3% weekly use among all non-Netflix subscribers. Connectivity continues its inexorable march into home entertainment. A wide range of home media equipment is now network- or Internet-enabled, with the number of connected devices shipped into consumer markets expected to increase steadily at a compound annual growth rate (CAGR) of 21% through 2016. ABI Research’s forecasts for connected devices for the period show that between 2010 and 2016, a cumulative total of more than three billion devices will have shipped worldwide.
TransMedia in Hispanic Television – Univision and Buick
It’s an Ad Within an Ad Within a TV Show for Univision Novela
AdAge Reports: “In Bid to Sell Buicks With Intrigue and Plot, Network and GM Roll Out Character-Driven Spot.”
The article reports: “As head of Hispanic ad agency Publicidad Arismendi, Eva Rodriguez won General Motors’ Buick account and created the car brand’s first Spanish-language commercial, which ran on Univision last week. But Eva isn’t real. She’s the heroine of Univision’s 8 p.m. telenovela “Eva Luna,” and part of her role is to take the product integration common in novelas to a new level.
In typical novela fashion, Eva starts out as a humble but beautiful apple-picker in Southern California and finds success and riches after falling in love with a man — Arismendi’s creative director, Daniel Villanueva — and being mentored by the agency’s founder, Julio Arismendi as she nurses him through a long illness. Eva rises to the top of the agency through a combination of hard work, her love of advertising, and the tutelage of Julio, who also leaves her a majority stake in the Los Angeles-based Hispanic ad agency after he fakes his own death when his evil wife Marcela poisons him.
Not only is the novela set in an ad agency, the plot includes the fictional Publicidad Arismendi’s quest for the Buick account, Eva’s successful pitch for the business, and the shooting of the real commercial, essentially relaunching Buick in the U.S. Hispanic market with the brand’s first Spanish-language spot.
“We knew Buick didn’t have any commercial creative so integrating the car into the storyline wasn’t going to be enough,” said Lia Silkworth, senior VP-media director at Tapestry, part of Starcom MediaVest Group.
General Motors’ media deal with Univision built in the cost of producing the commercial, and the filming of the spot was done at the same time as the scene of Eva directing the commercial. During the two-day shoot at an upscale Miami shopping mall, the “Eva Luna” cast and crew spent about an hour filming Eva, dressed in a white trenchcoat and very high heels, hopping behind cameras, scrutinizing storyboards and giving directions.”
In 2011 Samsung says SmartTVs have the potential to replace conventional cable TV services
Major Industry Players are Poised to Replace Cable TV’s Entire Business Model.
On April 28, 2011, Samsung announced it hopes that its range of Smart TVs will replace pay TV and laptops in the lounge room within six months, by supplying video content and web browsing though your connected television, an industry conference in Hobart heard today.
SmartTV’s With these Samsung and LG Functions Will Disrupt Broadcast and Cable TV Business Models that Do Not Integrate TransMedia Strategies Which Use Them.
Smart TV is a new category of television that uses an internet connection to provide additional content such as web browsing, social networking, apps, live channels such as Bigpond TV and video-on-demand.
Evan Manolis, AV group manager at Samsung Electronics Australia, told the Korea-Australia-New Zealand (KANZ) Broadband Conference that applications such as Bigpond TV will help popularise smart TV.
“It expands the story of smart TV and gets people understanding how the TV works and how it all brings convergence together, and there’s no more need for content on set-top boxes or laptops. It’ll all be one within the next six months,” Manolis said.
Manolis said that Samsung has conducted extensive research on what people want out of a smart TV.
“They want to ensure that the user interface is easy, they want to make sure that the experience they get on a laptop — the way they search the internet, the same way that they social network — that the experience is at the same level or better, and that’s what we’ve delivered,” Manolis said.
Both Samsung and LG have launched their 2011 ranges of smart TVs in the past month.
2011 TV Viewing Trends by Neilsen – TransMedia Implications are Immense
Timeshifted TV. Timeshifting continues to be a significant factor in how consumers watch TV. From a TransMedia perspective, the days of linear broadcast TV have come to an abrupt end. Non-linear TV is in … and the opportunities presented in TransMedia StoryWorlds with multi-platform distributions are immense. Content may be king … but TransMedia Content Rules the Universe.
Consumers continue to tell the industry THEY WANT TO WATCH CONTENT WHEN THEY WANT TO WATCH CONTENT. In Q4 2010, the heaviest timeshifters were adults 35-49, watching 3 hours 8 minutes of timeshifted TV a week. Teens ranging from age 12-17 watch the least amount of timeshifted TV per week, just 1 hour 31 minutes and the adults age 18-24 are close behind, watching 1 hour 32 minutes of timeshifted TV per week.
TLP TransMedia Strategies for Broadcast News Outlets
THE NEWS ABOUT THE NEWS. “Nearly half of respondents (48 percent) said their primary source of news and information is the Internet, an increase from 40 percent who said the same a year ago. Younger adults were most likely to name the Internet as their top source —55 percent of those age 18 to 29 say they get most of their news and information online, compared to 35 percent of those age 65 and older.” (Source: Recent Neilsen Report.)
Click Box Below for 2011 PDF from TLP.
TLP in Spec Development on Reality Webisode Series Integrating GigWalk
Gigwalk is a TransMedia dream. It poses opportunities for numerous StoryWorlds and Brand Integrations. That’s why TLP decided to develop a reality webisode series integrating this unique technology into a “stream of consciousness” StoryWorld inside a webisode reality series which integrates select National Brands. Stay tuned for updates on the integrated webisode series, graphic novel, and gaming extensions. The name of the series will be announced soon.
Background. SOURCE: “Gigwalk plans to launch Wednesday after being in private beta for six months with $1.7 million in seed funding from a handful of tech-industry heavyweights. Gigwalk connects businesses to a mobile workforce community known as Gigwalkers, who complete a variety of tasks using an iPhone to verify street names, product positions in a store or more. It gives brands insight into how their products are positioned. Ariel Seidman, CEO and co-founder at Gigwalk and a former Yahoo mobile executive, calls the service the “first on-demand mobile workforce.”
While navigation tech company TomTom participated in the test phase, other businesses, such as marketers, can tap into the technology and workforce to verify product placement and positioning of products in stores. TomTom used Gigwalk to verify real-world map data attributes. The Gigwalk community delivered up-to-date geo-tagged photographic evidence that gave TomTom an accurate means to update its database.”
THE GEOTAGGING AT POINTS OF SALE IS WHAT MAKES THE TLP REALITY WEBISODE SERIES SO INTRIGUING FOR BRAND INTEGRATIONS INTO THE STORYLINE. WE’RE BUILDING A STORYWORLD OUT OF THE BRAND EXPERIENCE.
“Verizon or AT&T, for example, could post a gig on the Gigwalk network asking consumer reporters who have signed up for the task to visit one of their nearby stores to check where the Motorola phones get positioned on the store floor. “Do the sales reps push people into Motorola devices or iPhones?” Seidman said.Gigwalk is live in Los Angeles, San Francisco, New York City, Chicago, Philadelphia, Boston, and Miami, with more to come later this year. Companies can tap into a pool of Gigwalkers, who earn as much as $1,600 monthly. Gigs can range between $3 and $90, depending on the task and timing. Seidman admits that one of the biggest issues the company faces as it expands worldwide is finding qualified Gigwalkers to do the job. “The guys who work in the Geek Squad and Apple’s Genius bar make good Gigwalkers,” he said. AdMob investor Michael Dearing of Harrison Metal, Mint.com investor Jeff Clavier at SoftTech VC, and LinkedIn co-founder Reid Hoffman of Greylock Discovery Fund put money into the pot. LiveOps co-founder Bill Trenchard of founder Collective and Alex Llyod of Accelerator Ventures, also participated in the round.”
stay tuned …
TransMedia Strategies with Multi-Screen Delivery – Now In High Demand in 2011
SOURCE HEADLINE (May 4, 2011): The explosion in syndicated content, easily embeddable code, and the torrents of clips coming to the Web are paying off in streaming media pretty much everywhere. According to the third annual survey of web media companies by D S Simon, 85% of them now carry video, representing an increase of a third from last year. Television media was already at peak penetration, with 96% of venues carrying clips, but the 2011 Web Influencers Study found that virtually every other category of news, especially newspapers and radio, now make video de rigueur. According to Doug Simon of D S Simon, the meaning here is clear. “The big news is that online media has now officially become a video programming network.” All of which goes to show how much users bring an expectation of streaming media experiences to a site. In order to feed the need for full motion, 84% of site users says they use third party providers along with in-house media. While traditionally non-video media are embracing the trend, it doesn’t mean that all of them are going full-bore into production. Understandably, 93% of radio stations say they rely in some measure on external sources of media, with 86% of newspapers and 80% of web media. TV entities tend to rely much more on their own assets, but still 63% user third parties. We have said it before in these pages; video is the new text, and the Web is a primary accelerant of that trend.”
Almost every Pay TV operator has a multi-screen strategy now and many are involved in laboratory or field trials, while some plan full scale launches this year. A number of big players, such as Orange in Europe and PCCW in Hong Kong, already have well
established mobile TV services with varying levels of interaction between these and their fixed broadcast packages. The ultimate
destiny is a coherent, unified and yet flexible multi-screen service, providing customers choices over delivery, device and
method of payment, ideally served over a common infrastructure.
To Read full Report (Click Box Above)
The end game for the whole digital entertainment industry is a multi-screen world where there is no distinction made at a business level on the basis of the target platform, with all devices served via a common headend and network infrastructure. This may not be as distant as some commentators think, and so operators need to be considering now how to migrate and scale their business accordingly. Scaling will have to occur across four dimensions: delivery infrastructure, the pay business model, revenue security and content rights.
Today’s market is bourgeoning with “smart devices,” from tablets to TVs to any device that can connect you to the Internet. The industry has gone through many iterations of the smart TV and we’ve seen fluctuation in consumer adoption. In a survey conducted by RedShift Research in the UK in 20101, connectivity ranked third in importance, after resolution and screen size, in consumers considerations when purchasing a new TV set. Yet, with the turn of the year, we’re seeing increased growth and adoption of connected TV sets. According to In-Stat, Web-Enabled CE Devices will reach one billion by 2015.
Consumers are starting to understand the value that connected “Smart” devices bring to the entertainment experience. However, as we step into this new world of connected everything, we need to be cognizant of how we can continue to make the entertainment experience enjoyable for consumers. TVs are entertainment devices that should allow consumers to lean back and enjoy. The most important technology a TV can have is the ability to access a wide variety of entertainment choices and help the viewer choose the content that is best for them or their family. …
The next generation of connected TVs will bring with it aggregation of content, personalization and recommendations technology. Along with these services, it will offer a greater way for TV manufacturers and service providers to monetize their offering – advertising capabilities outside of the traditional 30 second spot. It will use metadata pervasively to search for and connect consumers to content. It will have a lot to offer the consumer in their search for what to watch.
Anatomy of a Highly Successful TransMedia StoryWorld – “Conspiracy for Good”
What makes a successful cross-platform or transmedia project? Are there key ingredients? What’s the secret sauce?
THE AUTHORS REPORT: “With the Conspiracy For Good, our definition of a successful transmedia project is one that utilizes technology to deliver story content and engage an audience in original and novel ways. We intentionally created a story that lived all around consumers all the time, and incentivized the audience to move from one device to another in pursuit of the story, solutions to problems, and answers to mysteries.
A transmedia story is the opposite of traditional television, which lives in one place at one time, such as NBC on Monday nights at 8pm, and you sit on your couch and let the story come at you. After our writers created the Conspiracy For Good narrative, we then chopped it into 1,000 pieces and distributed those pieces across many platforms, such as characters’ Twitter accounts, Facebook pages, text messages, and updates on various websites, some of which were hard to find. The audience then went and found the pieces. So, when a cell phone buzzed in the pocket of one of our audience members in the middle of the day, they got to live in the story again for a few minutes and went to a particular website to learn something new about a character or a development, much like you do with your friends in your regular, everyday life. We even distributed songs that had hidden clues. When a participant found a clue on a character’s Facebook page, for example, they were often motivated to search deeper and crowdsource, with other participants, solutions to the character¹s journey.
The Conspiracy For Good actually had a character who traveled from Zambia all the way to London and she often ran into obstacles along the way. Her dream was to build a library for school kids in Zambia, and our audience actually helped the character fund and built a real library there. The audience communicated with her and used Nokia’s Ovi Maps to guide her through northern Africa and Europe. We actually had an actor (songwriter/poet Nadirah X) and a camera crew on the road for months of travel, being guided by fans.”
“So, to the many writers and producers involved in the Conspiracy For Good, the challenge was to create a puzzle with 1,000 pieces. Everyday the audience received one or two puzzle pieces from different sources (mobile device, song, etc). Over time, the fans begin to see the bigger story that emerged as they put the pieces together, and it soon became obvious that some very big actions were about to go down in London at a particular time and place. The Conspiracy For Good really pushed the limits of transmedia storytelling‹and also old-fashion street theater – and our audience loved it.
What are the most exciting emerging technologies that filmmakers should be aware of?
It’s incredible how new technologies have democratized filmmaking. You can make a great piece of art with a cell phone camera. I know because some of our fans did just that. We used a lot of mobile technology and mobile applications because we were aligned with Nokia on the CFG pilot. The future is clearly in social media and crowdsourced experiences, and also GPS technologies. The funnest part of our 4 month long event was the scavenger hunt in the streets of London that used image recognition software and location-based gaming to uncover mysteries, move through the streets guided by your cell phones, and find underground concerts.
What can filmmakers do to encourage real engagement and participation from “the people formerly known as the audience”?
When people come across an experience that they love, they want to share it with their friends. Art is powerful when it expresses an emotion, it taps into something that bypasses our intellect and makes us feel rather than think. That is moving. And when we experience that, we want to share it with others. This is true when you hear a great song or see a video or read a poem or play a game. Transmedia is best when you tap into this.”
“A story is more powerful if the storytellers create a story architecture that invites and even necessitates that you invite your friends to participate with you. If the story involves doing real good in the real world, then it is even more exciting to invite your friends to join your cause. The Conspiracy For Good wants to inspire you to invite your friends to experience new art and music and story, and by doing so also support a real world cause. So, I would have to say that transmedia storytelling is most effective when you interact with others and actually share and create art with them. The best example of this that I’ve seen recently is this pretty incredible Johnny Cash video that needs actual fans to sketch every single frame in the video.”
The Threshold – A Successful CISCO TransMedia Multi-Layer ARG Project
2011 Update:
CISCO, No Mimes and JUXT Team up again in an amazing TransMedia Project spanning 5 Continents and 2 weeks of Alternate Reality Game Immersion. It’s called “The Hunt.”
Here is a Webisode segment provided as a featurette to the participants to help solve a mystery and engage them in activities. You will notice the male character takes out an iPhone in real time and indicates feedback from people watching the story unfold. CISCO branding and products are seamlessly integrated into the storyline of this segment.
In this follow-up segment it ends with a call to action from the viewer audience to help solve the dilemma in the storyline.
IN 2009 CISCO, Juxt and No Mimes collaborated and produced “The Threshold.” It has set a new bar for TransMedia excellence.
The Threshold An Alternate Reality Game
In 2009, Cisco turned to JUXT Interactive and George P. Johnson to help make their annual Global Sales Meeting a virtual event. The Global Sales Experience was created to help inform and motivate 19,000 Cisco sales people from around the globe.
Knowing that our audience was 89% male — most of them highly competitive and highly social — made our solution fairly obvious. We turned the whole event into a worldwide competition. And to anchor that competition, we built a deeply immersive Alternate Reality Game (ARG) titled The Threshold. Collaborating with the ARG visionary Steve Peters and his talented team at No Mimes Media, JUXT worked to create an experience that would blow the Cisco sales force away. Bringing these two talented teams together did not disappoint. The fruit of this unique marriage was hours of entertainment, challenge and collaboration for our audience, many of whom devoted most of their waking hours to the experience.
To help build anticipation for GSX, The Threshold was treated like a summer blockbuster film, with Cisco offices displaying digital posters resembling movie billboards. The highlight of a pre-launch email campaign featured a gripping trailer video that raised buzz in Cisco hallways around the world.
The Threshold officially launched three weeks prior to the event, and players quickly found themselves immersed in its story, and emotionally invested in its characters. Cisco Sales teams demonstrated both genius and tenacity as they worked day and night to follow the ever-evolving storyline and unlock the game’s mysteries.
As The Threshold unfolded over 4 intense weeks, players exchanged phone calls and emails with fictional characters, scoured every corner of the GSX platform for clues, and uncovered secret videos, including recorded Webex sessions. Cisco’s CEO John Chambers even made cameo appearances, while Executive Vice president Rob Lloyd released crucial clues in his live opening session.
In the end, The Threshold proved to be a runaway success, doubling our expected participation numbers. The revolutionary ARG captivated 13,000 of the event’s 19,000 attendees, and for many of them, playtime exceeded several hours a day. Numerous unsolicited forum threads championed The Threshold for promoting collaboration and learning, and for bringing the company one step closer to its vision of ONE Cisco.
The State of TransMedia According to JWT – In 2011 Brands Buy In …
JWT recently released a significant report for 2011 entitled: “TransMedia Rising.” In it the giant advertising firms quotes: “What we need to do is figure out the story behind the brand, the place it wants to occupy in the consumer’s mind, deconstruct it, make it relevant and reassemble it for the relevant audiences, on the appropriate channels. Then, through social media, let the experience and associations grow organically.” —DEAN BAKER, managing director, JWT Entertainment.
Enter the Age of the QR Code. It is a technology that is a dream for brand integrations if their content can incorporate it to engage their audience/viewer/customer … because now they are one and the same.
This QR Code can be read by online readers and by cell phones with any number of free apps that can be downloaded from the Internet. This particular QR Code will take you to The Legacy Productions’ main website. To see how easy this is online, right click the QR Code … and click view image. Then copy the URL. Then go here and insert it in the first line and click SUBMIT QUERY. With cell phones it is much easier. You simply snap a picture of the QR Code and then hit submit. Done.
As this video clearly demonstrates, brands are using QR codes in many unique ways to engage their audience/viewer/customer.
18% Click Through Rates? Consider the possibilities QR Codes present to TransMedia Campaigns using it.
Augmented Reality Applications with QR Codes
QR Code Usage up 4,549% in 1st QTR 2011 – TLP integrates QR Codes in TransMedia Strategies
Mobile bar code scanning has increased by 4,549 percent in the first quarter of 2011 on a year-over-year basis, according to a Mobio Identity Systems study.
Report May 2011: “The Naked Facts: Whiplash Edition QR Barcode Scanning in Q1-2011“ READ FULL REPORT HERE.
With the increase in smartphone purchases for both iPhone and Android devices, which have a pre-installed QR reader, there is growing awareness among consumers of QR codes compared to a year ago.
QR barcodes go mainstream
Women also show a higher interest in using QR codes, accounting for 68 percent of users.
These numbers have big implications for advertisers.
“QR barcodes are no longer just a way to speak to early adopters, or the geek crowd,” Mr. Binns said. “QR codes have gone mainstream and are being used heavily by women who are head decision makers and purchasers in households.”
Mobio offers target rich environments where advertisers use multiple barcodes tied to different outcomes or campaigns to engage their consumers multiple times.
The vast majority of mobile bar code scans are centered on providing more information about a product or service, with 89 percent of scans falling into this category.
In terms of the type of media scanned, social media accounts for 70 percent of scans, TV 22 percent, the physical world four percent, online three percent and print one percent. The iPhone is the most popular scanning device, followed by the iPod Touch and then, Android. The report also shows that consumers are not just trying QR codes once and forgetting about them, but are becoming repeat users of the technology.
In fact, repeat scanners account for 62 percent of the market.
For marketers, this means QR codes can provide a way to have an ongoing conversation with consumers.
“QR isn’t a one-off medium anymore,” Mr. Binns said. “Marketers can change their QR codes in ads each day, week or month, and have an ongoing dialogue with their consumer.”
QR Codes and SMS Text Case Studies
Click here for an 8 page Market Research list of recent case studies on the effectiveness of SMS Text and QR Code campaigns. Click box above for the Free White Paper on QR Codes.
In the above campaign lifestyle alcohol brand VeeV connects to its customers with the nearest store offering their product using the simple effectiveness of SMS text messaging. The way it worked, texting VEEV to 75309 prompted the user for their zip code, after which the nearest store and address was returned in real time. This is a great example of how integration — in this case with a database of distribution points and location data submitted from consumers — is made easier with SMS integrated technology. It drives real value in mobile marketing programs as part of a TransMedia strategy. Many possibilities exist for variations, such as embedding a web link in these messages to redeem a scannable mobile coupon or pointing customers to drink recipes.
QR Codes:
- Quickly transport users from print materials to online sites
- Help users save information on their mobile devices for later use
- Can be used on a wide variety of mediums – from billboards to postcards to magazines
- Allow consumers to quickly take action or and learn more
- Eliminate the need for users to remember or type a URL or promo code
- Create intrigue and a viral buzz for brand campaigns by providing a simple and quick method for your audience to transfer your message to others
Recent QR Code case study…
NWA Japan’s announced a goal to position itself as a technology leader and collect the email contact data for its target market. QR codes were chosen by management as the marketing tool. They were delivered across a range of outdoor media in Tokyo such as on large buildings. People who took a photo of the code on their mobile phone were taken directly to NWA’s website which was purpose-built for the QR Code campaign. And for maximum visual impact, QR codes were affixed to giant billboards in high traffic locations. These became new landmarks of the campaign. Supporting the billboards were pillar wrappings, posters, coin lockers and light boxes used to grab attention at eye level. As a result of the QR code campaign, NWA successfully enhanced its position as the technology innovator in its category and achieved a huge amount of PR and word of mouth through the use of outdoor media.
Result: There were more than 16,000 hits to the portal, a 35% increase over targeted goals.
Second QR Code Case Study: Verizon/ScanLife
The Verizon/ScanLife campaign to promote the wide variety of apps available using DROID devices has seen over 150,000 scans in just over 3 months. QR Codes were placed throughout an integrated campaign which included print ads, in-store displays, direct mail, websites, and even iPad ads. Interestingly, voluntary sampling of approximately 20,000 users shows the technology is used across a wide range of age groups and income levels. You can read the full case study here. Full Report.
Third QR Code Case Study: Fiat/Evo
Leo Burnett Madrid have created a novel campaign around a smartphone app for Fiat’s supermini the Punto Evo (video below). The Fiat Street Evo app reads any traffic sign like a QR Code and then displays one of Punto Evo´s features related to that sign. Stop signs for example show the car’s breaking capabilities. There are secret prizes hidden behind a few of the traffic signs and should you want to test drive the car the app will also show the location of the nearest Fiat dealer.
TLP Now Developing “Walker” as a TransMedia Entertainment Property
The Walker Blog Website Can Be Found Here
Walker YouTube Site, Walker Facebook Site
One of the many planned Walker website portals under development for the TransMedia project states:
“WALKER is a new “Social Benefit” TransMedia Entertainment Property being produced by The Legacy Productions. We invite you to become a part of the experience in this rapidly expanding new genre of entertainment which combines narrative, significant social and environmental causes, with mobile interactivity and commerce. YOU , our audience is given the opportunity to affect real world changes: from the environment – to education – to health - to the economy … all by applying their unique abilities, talents, networks and passion as an active part of the story. …
Walker Reaches to the 18-34 Year Old Demographic …
In the fictional TransMedia StoryWorld, WALKER is a solo journalist … a SOJO. He’s alone in the world investigating stories which have global impacts environmentally, socially and economically. Many of the hidden puppetmasters WALKER want to “silence” him AND ANYONE WHO HELPS HIM. WALKER is not good for business … their business. WALKER develops and encourages a global movement for change driven by a series of webisode stories he begins and posts on-line. Blog entries provide further backstory. Fiction and reality ae blurred. The audience becomes a part of the story and a participant in. Clues are provided integrating augmented reality, SmartPhone capabilities and QR Codes. The audience participants have the ability to become a SOJO with WALKER and impact the outcome of this story … and the dialogue on the stories: Climate Hacking, NanoTech and Water Wars.
The WALKER story will be played out OVER ONE YEAR on disclosed and secret websites discovered by the participants as well as in graphic novels, on mobile devices, and at live meet-up events in Boston, Los Angeles, and London, and other cities world-wide.
ONE LONE SOJO NOW BECOMES MANY …
WALKER is patterned after other game-changing entertainment properties – blending narrative with mythology that blurs the lines between fiction and reality. WALKER compels the audience to become a part of the story with real world outcomes that actually mean something…
JOIN WALKER. Become a SOJO.
The World … Your World … Our world Depends on it!
The Walker Characters are Lifted from the fictional Walker Graphic Novel and immersed into real-life issues confronting all readers world-wide. Fiction and Reality are Blurred …
The Walker story is fictional and lifted from a graphic novel entitled “Climate Hacking.”
The website goes on to say:
“NOTICE: (May 13, 2011) As Walker moves from BETA testing to LIVE interactivity we will inform you here. You will soon begin to see the bumper stickers (see example below, i.e. a spin-off from the 1950′s “Kilroy Was Here” phenomena) but with new QR Codes technologies utilized, so that Walker solo journalists (SOJOs) and Walker augmented/alternate reality game players can receive coded communications from Walker which include private communication, locations for clues, as well as news gathering assignments for the Climate Hacking, NanoTiO2 and Water Waters productions (as Walker webisodes, mini-docs, and interstitials). Please check back frequently as more news will be announced. When Walker is LIVE and not in BETA, the QR Codes on this blog and everywhere will change … taking the Walker SOJOs to other web sites, secret web sites, flash mobs and live event locations with new instructions which further the Walker ARG game. Those sites may include Craigslist and other forums adding to the tension of the game and its context in contributing to the on-going dialogues about Climate Hacking, Water Wars and Nano technologies. Stay tuned …”
Innovative Use of QR Codes – Music Album Promotions on Side of Buildings
Here’s the innovative and interactive deal:
- 4 weeks
- 4 challenges 11 pairs of tickets
- 1 unreleased live track
- and an exclusive grand prize
Play Photobooth this week and you could win a pair of tickets to these sold-out Death Cab for Cutie shows, plus a meet & greet with the band:
June 7: El Rey Theatre, Los Angeles
June 9: Fillmore, San Francisco
Play along every week and you could win a Codes And Keys Limited Edition Poster Series Set – 11 limited edition posters, each inspired by a different song on the album and designed by Christopher Paul.
RedLaser, a leading barcode and QR code scanning mobile app, is bringing a brand new mobile experience to Sasquatch! Music Festival this weekend by launching a new sister app, RedLaser LIVE. The company is also offering Sasquatch! attendees the chance to win free merchandise and entry into exclusive acoustic performances – all through QR code contests. The new app, RedLaser LIVE, is a first-of-its kind geo-location tool, designed to help festival-goers keep tabs on friends, campsites, cars and more. The app, available for free on iPhone®, will also share the locations of special promotions throughout the festival, such as discounts at food stands and t-shirt giveaways at the RedLaser booth onsite.
Making a splash at Sasquatch is RedLaser’s latest example of the increased importance that their mobile technology plays in the music industry. This month, RedLaser designed a game with Sasquatch! headliner, Death Cab for Cutie, called Four Codes and Keys. The game incorporates Death Cab for Cutie-related clues that help fans unlock QR codes that are the “keys” to win prizes.
In February, RedLaser partnered with hip hop artist Lupe Fiasco to help him creatively launch his critically acclaimed album, “Lasers.” RedLaser worked with Lupe to project a QR code on the sides of buildings in New York and Hollywood, and activated his online fan-base by urging them to go out, scan and pre-order the album. Twenty five percent of his pre-order sales came from scanning his RedLaser QR code.
Lifetime Brands Adding QR Codes to Product Line – TLP Integrating Lifetime Brands into Two TransMedia Projects
Farberware®, KitchenAid®, Pfaltzgraff®, Mikasa®, Cuisinart®, Calvin Klein®, CasaModa®, Gorham®, International® Silver, Kirk Stieff®, Nautica®, Pedrini®, Sabatier®, TowleTM Silversmiths, Tuttle®, Wallace® and Vasconia®
Lifetime Brands Strengthens Social Media Capabilities with QR Initiative
Lifetime is launching a series of videos linked to Quick Response codes on product packaging.
Lifetime Brands Achieves $50,000 Lift in Weekly Revenue
Lifetime Brands, Inc. (NASDAQ: LCUT), North America’s leading resource for nationally branded kitchenware, tabletop and home décor products, has strengthened its social media and video production capabilities, adding a social media specialist and videographer to its marketing communications team. As part of this commitment, Lifetime is launching a series of videos linked to Quick Response (QR) codes on product packaging. These small square bar codes provide additional product information when scanned by smartphones.
According to Dan Siegel, Executive Vice President, Lifetime Brands, Inc., “Part of our strategy for success is to anticipate where the consumer will be, rather than to look at where she has been. This includes relating to consumers through such avenues as social media, video and QR codes. Social networks have created a more informed consumer, and we embrace interacting with and educating consumers through these platforms. Adding QR codes to our packaging is an evolutionary step that allows us to add rich video content about our products at the point of sale.”
TLP UPDATE: TLP has two cooking tv series which are in the latter stages of TransMedia development. Lifetime’s announcement about using QR Codes fits perfectly with the TransMedia strategies being developed for both cooking shows as broadcast episodes, webisodes, cooking tutorials, eBook cook book and celebrity chef interviews. QR Codes provide highly interactive capabilities between the cooking shows, the viewers, Lifetime brands, the food products and the drink menu utilized in both series. As an example, TLP is also in discussion with wine social media sites such as www.adegga.com.
In the case of these Portuguese wineries they are directing wine consumers to Adegga, an online community of wine lovers that dubs itself as a “social wine discovery” service. This is how it works. You scan the QR Code on the wine label and you will be taken to a special page on adegga.com dedicated to that particular wine. You will be able to read other people’s comments about it, check wine prices, read comments from the winemaker and much more. Adegga is undertaking a very ambitious project attempting to catalog all the wine of the world with something called an AVIN, which will be a unique wine identifier (similar to ISBN numbers for books).
Heather Schall, Senior Vice President Marketing Communications, Lifetime Brands, Inc., added “Lifetime Brands has a strong roster of highly recognized brands and innovative products that many consumers across America use daily for food preparation, dining and entertaining. Our new videos will better educate consumers about our brands and demonstrate the key features and benefits that make our products unique.”
Lifetime Brands is releasing videos in the coming weeks for Mikasa®, Design for Living Stackable Water Bottles and Misto®, The Gourmet Olive Oil Sprayer, with more videos to be released this summer on http://www.lifetimebrands.com, YouTube, Facebook and Twitter.
About Lifetime Brands, Inc.
Lifetime Brands is North America’s leading resource for nationally branded kitchenware, tabletop and home décor products. The Company markets its products under many of the industry’s best known brands, including Farberware®, KitchenAid®, Pfaltzgraff®, Mikasa®, Cuisinart®, Calvin Klein®, CasaModa®, Gorham®, International® Silver, Kirk Stieff®, Nautica®, Pedrini®, Sabatier®, TowleTM Silversmiths, Tuttle®, Wallace® and Vasconia®. Lifetime’s products are distributed through most major retailers in North America.
QR Code Music TransMedia Promotion – Jimmy Fallon Plugs Odd Future – 480,000 hits
OVER 480,000 HITS AS OF MAY 28, 2011. In February 2011, Host Jimmy Fallon started a new trend by offering up a QR code instead of holding up the cover of a record album or CD. Tyler, The Creator and Hodgy Beats of Odd Future was on Late Night with Jimmy Fallon and prior to the set, Fallon held up an LP-size QR code which, when viewed with the proper app, pointed viewers to the oddfuture.com website. when they go there it features a video of Tyler The Creator’s “Yonkers.” Fallon has been a pioneer among his fellow talk show hosts in the use of Twitter and he has enthusiastically disemminated clips of his show online to reach a digital savvy audience and has picked up on Internet memes like “Double Rainbow,” which he performed as Neil Young.
Contact TLP by clicking on the banner to the right and ask us for a free initial consultation how QR Codes can be used to enhance your entertainment properties.
SmartPhone and TransMedia Strategies – Why TLP Recommends SmartPhone Integrations
About the Legacy – Monetizing Every View
Overview of TLP TransMedia Brand Integration, Video Syndication, & Consulting Services (For Short PDF, Click Box Above. For Detailed PDF Click Box Below)
OUR LOGLINE: A Great Story means something worth telling that the world wants to hear. Finding this, creating this, defining this … is a lonely task at times. It begins with talent. TLP recognizes we are born with the creative power to put things together in a way no one has ever dreamed. It’s what we do. Then we bring to the work a vision that’s driven by fresh insights into human nature and society. We couple it with an in-depth knowledge of characters, locations, plots and sub-plots within a new StoryWorld … which asks the audience to immerse themselves into the story … live the story, dream, the story … and… We integrate digital technologies and interactivity within that StoryWorld and create results which all Brands desire.
The Legacy Productions is in a Collaborative Team relationship with CampaignTouch, TVNOW.me, VFXDirect, Let’s Go Hollywood, Inc., M2 Productions, Alphabird, Kontera and others. TLP with its Strategic Affiliates offers:
Projects In TransMedia Development or Packaging:
* PoliticalQRCodes(tm)
* ConnectedTV Politics(tm)
* Walker (TransMedia Cross-Platform)
* JobzTV.com (reality TV, digital signage)
* TheLoveKitchenTV (reality TV, digital signage)
* MissionCoffeeCan.com (reality TV, digital signage)
* Health Industry Media (Narrowcast TV, digital signage)
-Packaging of 4 Screen TransMedia deployment of TV Content with cross-promotions, IAB standard video ad units (pre-roll, post-roll, SMS text, interactive, metrics, geo-targeting) – “monetizing every view”
-Offering PaaS with TVU Networks and Media Signage systems to provide clients with latest in cross-platform delivery of content in TransMedia integrations;
-Packaging of TransMedia entertainment products (reality TV series, series, films, interstitials, brand integrated webisodes, mobisodes) with Sponsors, structure, strategic affiliation partners, brand integration and product placement strategies, on-line and narrow cast distribution, on-line distribution and monetization strategies, guaranteed syndication and audiences;
-HD Video production from creative through post for broadcast commercials, web-videos, trade show videos, profiles, real property profiles and presentations
-3D Animation and visualizations for Architectural Renderings, Architectural and Real Estate Fly-throughs, Product and Video Gaming;
-Motion tracking and green screen and white cyc – 3 wall studio facilities 60 minutes from Boston;
-Inbound Marketing and Viral Marketing Services;
-Integrated Social Media Campaign Creations;
-Creation – Film and TV Productions;
-Creator, Director, Preditor, Writer Reality TV;
-High-Concept Ad Creation.
We deliver on-line and off-line cutting edge, media-rich video content to the corporate, creative and broadcast markets worldwide. Our services cover all aspects of high definition video, content, TV, broadcast, animation, motion graphics, streaming and delivery.
The Legacy Productions’ mantra is: Believe in your dreams … reach for the stars … go beyond the ordinary …
