Friday, June 5, 2015

Tango Underpants Online

So this happened agggeeesss ago and I totally forgot to write a post on it (mainly because I was too busy getting ready for Cannes, prepping our digital campaign for our next short film Library of Love, etc), but Tango Underpants IS ONLINE!!! Whilst many of you probably won't understand the significance of this event compared to all the other wonderfully amazing things that have happened with this film to date (QANTAS, Best Sexy Film at New York BeFilm Fest, Cannes Cinephiles to name a few), it is significant for me and here's why.

I came on board as the film's digital manager way back when in 2012 just before our crowdfunding campaign launched. As part of our application for the program, I had to devise a digital strategy and implement it prior to, during, and post-filming. I have continued to manage all digital facets of the film since then making this my longest running commitment to date (my boyfriend and I haven't been going out quite that long yet).

Over 3 years, I've managed the initial set up of our digital assets, community development, brainstormed engagement activities, sourced online content, covered major achievements, monitored online sentiments, and striven to enhance the film's online profile as much as humanly possible. To date, our Facebook page has 962 likes; our Twitter account has 234 followers; our newsletter has over 250 subscribers; our website has had over 11, 500 page views to date; and the film has garnered over 4,500 views in 4 weeks. With a very small budget (I don't think I spent more than $100 in 3 years advertising any of these platforms), and not being able to commit to this full-time due to other work, I am proud of these stats and overall, pleasantly content with the overall results.

I'm sure I will never be completely finished with Tango but with our new film, Library of Love, soon to hit production, it will become less of a primary focus for me over the next few months. Working on the film as both its digital manager and production manager was an amazing experience and I have been fortunate enough to work with some of the best people in the business as a result. I'm looking forward to working with them on LoL and can't wait to see what we can all do together for a second time around.

For now, here is Tango Underpants, the full short film, from YouTube.

Monday, March 9, 2015

Emergence 2015: Ross Siegel, Stories Behind The Story: Reaching Your Audience in a Multi-platform Age

Ross Siegel, Director of Development at Maker Studios, provided an extensive introduction to Multi Channel Merchants, companies like Maker Studios that assist up and coming YouTube stars with their brand and assist major brands understand the heavily saturated landscape that is YouTube.

Ross started out by defining that every song, video clip, short film, and 30 second cat video has a defined outlet and an audience. He explained YouTube was a virgin platform in which thousands of creators around the world produced millions of content each day from their bedrooms and living rooms at the time he came to work for FullScreen. 300 hours of content was uploaded every minute. And he was set to find opportunities for YouTube in the brand marketplace, and assist other brands in navigating the world of YouTube. His early days at YouTube, found him immersed watching thousands of YouTube videos, learning about YouTube's best practices, how to reach an audience through collaboration, and how data tells a story about how an audience behaves to teach creators about reaching their audience and working out what content they like. 

Working in this new digital media became about working with the authenticity of the creator. He devoured a tonne of YouTube videos to work out what makes videos viral, then several months into his new job, there came the Harlem Shake. Thousands of Harlem Shake videos were being made and shared via YouTube every day. Hundreds of YouTube channels were creating hundreds of these videos every day during this phase. Their clients delivered funny, odd and hilarious takes of this new format. His company helped brands to get on the trend and make their own versions of the Harlem Shake. Pretty soon, celebrities started to get on this too. They had weird and interesting takes on this cult that started going all over the world. At the time, he flipped for the contagious virality of this movement and how the song and its format was inspiring creativity in groups both large and small - he started thinking - what if this Harlem Shake was a plot point that could be used to promote a series, or a new movie. The thought process had began. 

At this point, his job was to link up some of the top YouTube creators of the world known as "influencers", with major entertainment brands. Huge conglomerates were now turning to major content creators to help reach audiences they couldn't reach themselves. He began to see the influence these digital YouTube creators were having in drawing loyal audience members. These people are huge stars across a variety of channels including Vine, Instagram, Facebook and Twitter. The Janoskians, for example, a Melbourne group of 6 pranksters, were mobbed in LA and landed a movie deal with Lionsgate - this is the potential of being a YouTube star.

Whilst at Fullscreen Inc, Ross teamed up with AT&T to produce "Summer Break", a new type of reality show taking place entirely on YouTube, Twitter, Instagram and Tumblr. 9 southern Californians were picked to chronicle their last summer before going off to college. The drama happened in real time, the storytelling structure embraced the normal social habits of these kids, and capitalised on the rapid ingestion of information by their audience. The only produced aspect was the 60 second daily wrap ups of the show. At the time, it was inventive storytelling that garnered 18m views. It generated millions of mentions on social media, gained a second season commitment, and clinched the belief for Ross that millennial stories could be reach beyond the millennial core base with the right creative structure.

Maker Studios help their creators find outlets for their content outside of YouTube. They're looking closer at these platforms to determine where the best fit is for different content created by their clients. Learning how Facebook video behaves different to YouTube. Channelling SnapChat and Vine to reach an audience in a different way to releasing a video on YouTube. MCMs are much like a talent agency for YouTube stars. They reach out for them and ask them to be a part of their network. In exchange, they'll give the stars the tools and technologies to help them grow and monetize their videos. The MCM model works by giving a % of this revenue based on the time and energy that goes into supporting that star. These days, technology makes it easy to get your content online. The flipside is its getting harder and harder to find this content. Today's audiences don't really care what the platform is but they will and always care about the content on them. Its more important than ever for storytellers to thin about what stories they want to tell but how they want them to be seen and where they are seen. Its is better to release your film in a costly theatrical release or a niche release to a targeted audience? What would a potentially viral video promoting your TV or film look like? 

More and more TV executives now ask how shows will be marketed. How they will break through. As storytellers, we all need to adapt and be aware of new content distribution methods. Coming from a traditional Hollywood background, it wasn't easy for Ross to understand the revolution. But Hollywood is catching up. This year's Oscar winner, Birdman, in a lot of ways is about this sea change. In the movie, it featured a relationship between Michael Caton and Emma Stone where she is obsessed in the digital world and he is a traditional film actor. It is a combative relationship and one of the film's peak emotional moments she says "he is irrelevant" and he replies that the play he is putting on "is important to me". She stately replies "you don't matter. You're not important. Get used to it." This directly outlines the change between the traditional and digital worlds. 

Ross concluded by sharing a quote from Kevin Spacey who said "our stories become richer and are becoming far more interesting when they go against the subtle order of things to achieve the unexpected". New mediums are emerging - we need to break out beyond what's comfortable for us to get our stories to reach our audiences. Somewhere there is a writer out there figuring out how to tell a story via Instagram. Ross finished in saying he hopes everyone finds power in embracing these technologies to tell their story as the opportunities are endless.

Emergence 2015: Glenn Urquhart, Evolve Your Transmedia

Glenn Urquhart, GROUP CREATIVE DIRECTOR, LIFESTYLE CHANNELS - FOXTEL. Keynote: "Evolve your Transmedia"

While rather a difficult keynote to follow (Mr Urquhart you could win the award for most words spoken in a single minute), I did manage to write down a few key messages about producing transmedia campaigns.

Glenn promoted the simple rule of understanding the traditional conventions of literature, art, and filmmaking, so you can turn them on their head and subvert them through juxtaposition. When you understand art, you understand us, people.

As storytellers, we're writers so we should take the writers approach. Its important to experience sub cultures beyond what you normally do, live through other people, read, watch, and listen to as much as you possibly can. The ridiculous and sublime is happening everywhere around you. Inspiration is everywhere. By understanding the conventions of art, you'll understand us. When you subvert the traditional conventions, you'll produce more emotional responses.

The Grand Daddy of transmedia campaigns - the Dark Knight campaign - illustrates the power of these productions. 10 million people from over 75 countries participated in a mass alternative reality game where The Joker left his mark in public places to produce an army of followers around the world. Phone calls, emails, user generated photos, public protests for the fictional mayor Harvey Dent, interactive games, video - all were used to produce the biggest hype about the film leading up to the premiere in 2008. Glenn noted that by giving people the power to make stories with your brand, you can make it bigger success than if you had tried it yourself. This is what transmedia storytelling is about.

TVNZ produced a similar campaign for Shortland Street, a New Zealand series that normally attracts a 30% share each night. On a smaller scale, the producers had to deliver fans online content for 5 weeks during the summer break. A transmedia clue hunt was born in which content was released via social, text messages, videos, anagrams, voice calls, emails, and traditional media. 60,000 people visited the site on one day alone and 17,000 was averaged per day. When the new season launched after 5 weeks, they pulled a 53% share for first episode, an unprecedented event.

Transmedia campaigns with a dense rich story with a large fan base are generally successful. If you don't have that fan service, you need to speak to your niche. This guarantees you will get that shareability - if you can't, go for the emotional uppercut. Don't be afraid to commit, you must commit 500%. Creativity can be brought down just to being bold.

At Foxtel, Glenn discussed transmedia campaigns made for the Lifestyle Channel and Embarrassing Bodies Downunder. To launch the new show, they personified 6 ailments into The Unspeakables using music, videos, a content-rich website, toys, and other online content marketing the general principles of the show. The result was a higher than expected share for the launch of the new show when it released. As well as this, Foxtel are working on a transmedia project as part of H100 called Life in the Trenches a where a trench is built outside the opera house and participants try to find out which soldier whilst travelling from one end of the trench to the other, eventually finding out if they survived the trenches or died on the battlefield.

Glenn's speech highlighted the key important fact that when it comes to transmedia, there is no limit other than your willingness to commit to an idea and deliver the project. Budgets can be large or small. Audiences can be mass collected or niche. Either way, everyone has the opportunity to produce something unique through transmedia storytelling.