Cross Media Storytelling

Look at this beautifull url Cross Media Storytelling

Looking at co-creation as a business model

This dutch article investigates the business that has developed around large players in the digital domain, like eBay, Apple and Google. Services are developed to help you sell on eBay, or accesories are developed for using the Apple iPod as a radio. Add-ons to the business by third parties, called 'feeder business'. It is another example of users getting interactive and co-creative, producing material around a basic service or product and getting paid for that. Apple is asking a share of the profit and is choosing to embrace this development, offering the products for sale with their main offerings, instead of fighting over IPR. I think it is the new business model in a crossmedia environment.
Emerce - Media/Marketing: Feeder business: slim of slinks?

Let the games begin..

Dutch mediatycoon de Mol has won his first round in the Dutch broadcastbatle for next season (august 2005) when he will start up his channel. He gained the rights for airing the most wanted socker material, the sunday primetime round-ups. There has been a lot of speculation in the Dutch media around the bidding, delivering de Mol plenty of precious free publicity for his new endeavour. He holds a share of 41% in Versatel the company that gained the rights to airing the live matches of the big sockerteams, previously the rights were held by Canal +, that is the big looser yesterday. They have lost there unique selling position and not leaving much interesting for abonnees to pay the premium. That the round-ups only delivers some 6 net-hours of television a week and there is still about 39 hours to fill is what de Mol mentioned in an interview yesterday. It looks like a lot of opportunity and a lot of new offerings (digital channels as well) De Mol could have just stayed at home and enjoyed his wealth, but he just loves to play. It will be an exciting new year, so let the games begin...

Interesting Idea

this looks interesting but still vague. A lot of channels will be involved.. okay but how. We'll see in the next year.
Urbanology Group 100% communication

Like a puppet on a string

Do you ever feel like a puppet on a string? I do.
Even in this fast changing media landscape there are players that have large influence on crossmedia developments. Like the large media conglomerates. Jenkins (MIT) has shown his concern about this and he has a point. On the other hand I think that big conglomerates will find they need to work together co-creating new content with co-creating users and new entrants. It is all in the spin

Good work from Christy, our aussie crossmedia source

take a look at this elaborate work by Christy, which is very practical when searching for the exact sources of terms. Cross Media Storytelling

MediaGuardian.co.uk | Broadcast | 2004 TV shows fail to generate mass audiences

Here we go.. the UK model where digital and interactive television is reality for some years now, shows the divergence of the broadcasting landscape taking place. I will come back to that in my article for the European Commission that is based on the networking session at the IST event. Off course it will be posted here also.
MediaGuardian.co.uk Broadcast 2004 TV shows fail to generate mass audiences

Podcasting to Transform Media Consumption?

With the use of RSS feeds and MP3 technology AND podcasting it is possible to deliver radio on your phone WITHOUT technological difficulty. AND interesting is you can also deliver video via MP3. What a way to start your own mobisodes..(article before) I will have to look into this further. Looks very interesting and in line with "open content" movement of crossmedia communication mentioned earlier. But, how to make money as a content producer? Heineken has embraced the technology and with a elaborate album of music events is looking into the possibilities. Kim Dingler, communication manager at Heineken really understands how to make crossmedia communication. Here is a very bright lady at work. She started up Sixpack, a niche program on the Dutch broadcast channel SBS 6 aired in the cheap late hours (probably for free as a courtesy to a good advertiser); Six Pack is young skewed and attracting a lot of spin with their activities, like "stalking" George Clooney and being the first to have a short interview with him and Brad Pitt on the set of Ocean Twelve in Amsterdam (though I dear to ask if Heineken is going to be an influential advertiser in and around the film ;-). Six Pack is ready to go further as a niche channel or anywhere in the digital environment. Long ago Heineken has already stept into music events and is now getting to pick up the sweeter fruits of that decision. Heineken can, as an advertiser, explore new ways of making contact with their audiences, that will be cost-effective in the long run and has relevant return on investments for Heineken as a global company with some very large brands in portfolio. That is the role of Heineken as an advertiser, with a brand 'story' to be played out in several channels. But here is another role; that of Heineken as a publisher of a library of live music events. They can give away the music content as a service to their audience, gaining much sympathy. Or they may investigate selling the content directly? It is an interesting question when you look at the value chain of crossmedia communication. An advertiser becoming a publisher? It has been mentioned before but it did not work this way before. But if publishing is for everybody (open content) why not for the advertiser? To own interesting content and give it away to loyal customers would be a relevant model? Adrants: Podcasting to Transform Media Consumption

Mobisodes: mobile '24' by Vodafone

Interesting new format by Vodafone mentioned in the weblog of Christy Dena; 24 one minute movie episodes for your 3 G mobile phone. Not really crossmedia, although I am thinking right away to adopt this in a crossmedia format. The mobisodes are inspired by the '24' series. And I must say '24' has inspired me too, that is their format of split screens for simultaneous events at the same time. I find it very usefull in the crossmedia whodunits that I am developing at intervals at the moment. '24' is revolutionairy as it is the first TV series of 24 actual hours. In my opinion it also shows some of the evolving syntax of crossmedia communication. To make a series of 24 chronological hours and still keep a consistent and intens story with good tension building in every hour is a challenge indeed. But you wouldn't want your normal everyday to look like a 24 Bauers' day now would you? http://www.revolutionmagazine.com/News/index.cfm?fuseaction=ViewNewsArticle&ID=227432

ITV: Profitable channels without advertising?

ITV is looking into shopping, gaming and auction channels as a way to make money beyond the advertiser-funded model. ITV is expecting to be able to make profits with this approach. With ever more channels arising, and I expect this growth to be exponential in 2005, offerings will become more diversified. ITV is seeking to directly cash through the content that is aired in a way of keeping airtime profitable. I am very interested at the success rate of this. C21Media:

ECP meeting on Digital Rights Management

Today I visited the yearly ECP.NL meeting in the Hague. ECP.NL wants to enforce the Dutch international position using electronic means. Todays' meeting was on the Digital Rights Management(DRM). First, what is DRM? "Some kind of electronic system that allow producers to establish copyright and enable the use of the material" according to a representative of the Dutch Department of Justice. "A contractual arrangement other then copyright, because rules may differ per contract AND the ability of a technical system to control the kind of use the consumer is making of the material" according to sollicitor Christiaan Alberdingk Thijm. So, not a clear agreed upon definition yet. In such cases I like to name some common seen characteristics of DRM:
- A set of business rules
- on several kinds of uses people can make of content
- of which a contractual arrangement is concluded
- translated into a technical script enabling the producer to control that only the agreed on use of material is executed and no other than that.

The motives for developing DRM are very much coming from the content industry (mainly music and more and more film) trying to find cures for the fast eroding profits on copyrights because of illegal copying of digital material. With DRM the industry is hoping to solve this problem.. and get people back into paying for music and film. As a content producer I also want material to be protected and in some way paid for, but.. The development of DRM is based on restoring a situation that can never be restored again, that of a mighty music and film industry dictating 'mechanical revenues'; revenues from CD and DVD sales. The situation is changing towards an industry much more dependant on 'synchronisation revenues'; revenues from the use of music in other channels, games, mobile phones. Crossmedia revenues other then selling purely the music. Another important issue not considered is that of the consumer getting more interactive and thereby changing from consumer to producer. What is the juridical situation here? Is this content coming from interactivity still the proprietary domain of the producer starting a story or is the input the property of the consumer/producer? What is the measure for eventual shifting ownership of content?