Rubber Blog

2
Sep

Tips on transmedia film-making and marketing

Chris Q

It’s interesting times for the film industry, as new technologies (like 3-D) and social channels (like Twitter and Facebook) open up new opportunities for film-makers to tell their stories, engage audiences and ultimately generate greater revenues for the studios.

In the last couple of years, we’ve excitingly been working at the coal-face of this transmedia film-making space developing up strategies and helping run transmedia campaigns for Paramount Pictures – working on campaigns from Watchmen to Iron Man II.

As with any new developing space, it’s taken a bit of time to find our feet and work out the dynamics between content and communities, and how best to make these two work together – i.e. optimising the online communities experience of content and with it film narrative. And this optimised relationship between communities and content is the key to a successful transmedia campaign, as from a marketing perspective you’re looking to engage the communities to a level that not only makes them want to come and watch your film, but also advocate and share (tell friends).

To give a sense of the different factors at play, we’ve developed up a rough model as follows:

Transmedia_content_framework

Key points that may need expaining a bit more in this model are:

- Content types: when developing up transmedia content there’s always the balance as to how narrative-based you want to make the content. The trade-off here lies in that the more narrative / film-specific the content, the less mainstream its appeal may be.

- Diamond-shaped influence: the sweet-spot of influence (i.e. a mix of advocacy and reach) will always generally sit between niche activity and mainstream activity – enabling (hopefully) to tap into both camps. Obviously this is a difficult line to tread – but possible.

- Example content: there isn’t a rule as to what content works best where, however these are some examples. Much of the “narrative-themed” content (on the left) could also move more mainstream (towards the middle) if executed well.

@Rubber_Republic

31
Aug

Knowledge that adds = happy face Andy

Andy P

Heinz have a little warning on some cans of soup, something like: ‘over-cooking may impair the flavour’.

That’s a neat summary of how too much information can accidentally destroyed the mystique of something. It happened to me recently with the song Solsbury Hill. I just wanted to fit the song into a narrative of ‘I live close to Bath and would like to go to Solsbury Hill’. A quick wikipedia visit gave me way too much backstory, and know I now what the song is about. Previously I made up my own interpretation. Frankly my interpretation was more fun :P

It’s not all one way though. I like knowing the backstory to Iggy Pop’s The Passenger. Maybe it’s because I’ve ridden around Berlin on the S-Bahn at night. Connecting the narrative to my narrative maybe makes it more resonant – for me.

This post is about transmedia, but I don’t have a pithy planning insight to share :( All I can tell you here is that extending a narrative has a really strong emotional impact. We live with these fictional narratives in our thoughts, in our hearts, flowing through the narratives of our own lives. It’s simple to extend this for the better. But how should we go about it? :o

25
Aug

What crowdsourcing can learn from Who Wants to be a Millionaire

Chris Q

I’ve been reading a new book called Smart Swarms recently. It’s one of those Tipping Point / Wikinomics types pop social science books, which doles out huge hunks of insightful wisdom. In Smart Swarm’s case, the book looks at how humans can learn from the collective intelligent behaviour of animals – in particular, how we can learn from animals (like bees and termites) swarm behaviour: i.e. how they manage to self-organise in such huge numbers.

The book’s full of great nuggets of awesomeness, however one bit I found particularly interesting was the discussion around harnessing the wisdom of the crowds – what a lot of people call crowd-sourcing. I particularly liked his simple mathematical proof of how the crowd is more intelligent than the individual. The point the book makes is that even if the majority of people in a crowd don’t know the answer to a question, between themselves they’ll come up with the correct answer.

The book uses Who Wants to be a Millionaire as an example of how you should always listen to the crowd – pointing out that the audience is correct 91% of the time, and the experts 65%. He goes onto prove the power of the crowd through a simple mathematical model as follows:

A contestant on Millionaire is asked the following question, with the 4 options for answers:

Which person from the following list was not a member of the Monkees?

(a) Peter Tork
(b) Davy Jones
(c) Roger Noll
(d) Michael Nesmith

Not knowing the answer, they “ask the audience” for the answer. Assuming there’s an audience of 100, the following is a rough analysis of how crowd manages to select the correct answer (which is “c” Roger Noll by the way!):

Smart_Swarm_numbers

7 people are Monkees fans and know Roger Noll was not a member of the Monkees (but an economist at Stanford)
10 people recognise 2 of the names on the list as being in the Monkees, leaving Noll and one other. Assuming they pick randomly, this gives another 5 votes to Noll.
15 people recognise only 1 of the other names, which leaves another 5 votes for Noll.
The final 68 people have no clue at all, so randomly pick a name splitting the votes evenly across the names, giving Noll another 17 votes.

Adding up all these votes, gives Noll 34 votes in total, with the other names getting around 22 votes each (as statistical law suggests).

This means that even though 93 percent of the audience didn’t know the answer, and were basically guessing, the crowd (the audience) when combined picks the right answer.

The book, then goes on to point out that this idea of a group being able solve a problem even though the individual parts don’t know the answer isn’t at all new, as it was something that Aristotle pointed out in his “Politics”.

Put nicely, the trick of crowdsourcing answers to problems can be put as follows “there is no mystery here. Mistakes cancel one another out, and correct answers, like cream, rise to the surface.”

So, the question has to be: if contestants on game shows playing for £1 million choose to “ask the audience” why don’t business and governments “ask the crowd” more often?

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19
Aug

Rubber make NMA front cover

Chris Q

As you may – or may not – know, we run the Viral Charts for NMA using our super-duper Viral Ad Network.  To round-up the first half of the year, NMA have (with our help) put together an overview of the findings of the chart together with analysis of the most viral brands and videos over the last 20 weeks, and excitingly led with the story in this week’s mag.

To make the front cover of the most respected digital industry magazine is pretty awesome, but to also get a double page spread based on our research findings is doubly awesome.

If you haven’t checked out the article already, you can view the front page leader article online here – with glossy screen shot below.  Happy days : – )

NMA_Rubber_cover

17
Aug

Montpellier Airport site hijacked by web protester

Karen Lindsay

An anti-Sarkozy protester has hacked into Montpellier Airport’s website to vent his frustrations.

For over two hours yesterday, tourists and travellers hoping to fly from the southern French airport were greeted with “F**k You Sarkozy (stop support israel)” (sic).

This screenshot was taken from Nouvel Obs.

Sarkozy