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DW Medienakademie 04/10
Transcript of DW Medienakademie 04/10
ACTIVITIES MULTISCREEN FRANCE WEB BEYOND
THE WEB TRANSMEDIA PROJETS EXAMPLE : Intime conviction
A 90 long feature film about the death of a woman and a policewoman's inquiry that leads to the arrest of the principal suspect. His trial will be held on the web, with professional lawyers, attorneys and judges, as well as with the actors from the movie (who therefore will have to improvise). The jury will be composed by 6 jurors from the web. NEW TOOLS, NEW AUTHORS FRANCE WEB OUR PRINCIPLE:
INNOVATE WITH EVERY PROJECT 5 DIAGNOSIS N*1 N*2 N*3 +220%
= The increase of the mobile market during the last 12 months The consumption of web (and TV!) programs becomes more and more social A multiplicity of new tools on the web N*4 Connected TV POSSIBLE DEVELOPMENTS 5
CONSEQUENCES NEW NARRATIVE OPPORTUNITIES NEW DISTRIBUTION PATHS 5 CONSEQUENCES NEW NARRATIVE OPPORTUNITIES NEW DISTRIBUTION PATHS Use the web as a source and a way to tell stories More and more creators (and users) get acquainted with those new tools Creating for the web is also to create for mobile devices Screen convergence //
Screen multiplicity Semantic storytelling (aggregation + contextualisation) Mobile storytelling (geolocalisation, augmented reality, new image textures and tactile narration…) Personalized storytelling (a different story for every user) A whole type of storytelling is yet to invent for connected TV Multi-support distribution
= a same story can be told on different places on the web New "times"
= live vs. real time Multi-screen distribution = a same story on different screens, at different times (or at the same time, with a second screen) Social distribution = go for the audience where it already exists CONTACT FRANCE WEB Alexander Knetig
Web production manager
Twitter : @aknetig 1 2 3 1 3 4 1 2 4 Budget for 2012: 800 000 € (we finance between 25% and 50% of the total budget) Objective 2012 - 2014 : 10 productions per year Every month, we receive between 20 and 60 projects. A comitee of members of the web department and one commissioning editor from each program unit (society and culture, fiction, cinema, arts, science) FRANCE WEB WEB PRODUTION EXAMPLES (2011 - 2012)
Alma WHY DO WE PRODUCE ? 4 OUR ACTIVITIES 2 European cultural TV channel, broadcasting above all documentary and original fiction One production pole in Paris (ARTE France), a decentralized production in Germany (with an administrative department, ARTE Deutschland, in Baden-Baden), one headquarter in Strasbourg (ARTE GEIE) We believe that our mission of broadcasting high quality public content should exist on all distribution vectors (at least: TV, online, mobile) HOW TO PRODUCE? YOU NEED DIFFERENT COMPETENCES NOT ALL STORIES ARE INTERACTIVE NOT ALL INTERACTIVITY IS GOOD DIFFERENT COMPETENCES INTERACTIVITY = ENGAGEMENT? "Classical" ressources: journalists, authors, editors... Classical audiovisual ressources: producers, cutters, camera... BUT... Linear stories still have a bold future Non-linear stories already did exist before new media entered the scene (cf. Latin -American literature) Some stories and some topics are better told in a linear, non-interactive way Fragmented, multimedia stories did exist even before Interactivity can lead to enhenced user engagement, but this not necessarily has to serve a story (cf. advertisment) Sometimes, light interaction can be more adapted to your story than heavy gameplay (f.ex: "Serious games") There's only one rule: let the content decide 1 2 3 NEW AUDIOVISUAL FORMATS NEW AUDIOVISUAL FORMATS On the web "audiovisual" does not necessarily mean "moving images" Video formats, photo series, animation, hybrid formats... Think of "broadcasting" in a very large way (website from the print media, TV, radio stations) Media convergence towards a more "web"-like format (on the web) 3 A WEB-BROADCASTER FRANCE WEB WHO IS A WEB-BROADCASTER? EVERYBODY WHO PUBLISHES CONTENT ON THE WEB WEBSITES APPS DIGITAL PLATFORMS (VOD, IPTV...) WHAT DOES "THE AUDIENCE" MEAN ON THE WEB? FRANCE WEB
+ FEATURING AUDIENCE = COMMUNITY The internet is not a mass-media - it is a massively used network.
That's why community matters! In order to reach your "audience", you have to reach the different communities interested in your content IT ALL DEPENDS ON HOW YOU ARE FEATURED There is so much information on the web that your program's survival depends on how it will be seen From its conception on, you have to think about who could see your program + the Appification of the web: the role of the AppStore and Google Play are more and more important Being visible = interact with your communities, mind your SEO, be present on big media websites Historical TV broadcasters Web natives A HUGE BUNCH OF DIFFERENT SITUATIONS The broadcasters of tomorrow N*5 Categories like "film", "radio broadcast" and "video game" do not make sense anymore Think about very hybrid formats GAMES As a broadcaster for audiovisual programs on the web, you also become an editor. So why not editing all kind of audiovisual programs? For instance Games. EXAMPLE : Type:rider
A full lenght arcade game (in browser and mobile) that leads us through the history of typography, from its early beginnings in China to all well known type fonds of the contemporary world: Gothic, Garamond, Helvitica... and Comic without MS! TRANSMEDIA PROJETS ARE ALL STORIES INTERACTIVE? GRAPHIC DESIGNERS YOU WILL NEED FOR SURE... DEVELOPERS ART DIRECTORS AND YOU ALSO MAY NEED... GAME DESIGNERS INTERACTIVE SCREENWRITERS COMMUNITY MANAGERS Experience the
Holy Trinity of webproduction:
Distribution This diagnosis is valid on a local, national and international level = a story told for various screens and various platforms Print native online media