SALIGIA-7: Raise the zombie alarm

Hubbub Media, Woedend! and VPRO, 2011

In the summer of 2011 strange scenes were seen at different locations in the Netherlands. Young people disappeared and zombie-like creatures wandered through the streets of Amsterdam. Lots of questions were asked, but the most important one was: Is this really the beginning of a zombie outbreak?

Who knows… It certainly is the beginning of the transmedia sci-fi thriller SALIGIA-7. In this projects we used television, online- and social media, games, live events and alternate reality games. For three weeks, we introduced the public to different people and plots in the storyworld by creative producer Ian Ginn.

The Story

For the pilot, Hubbub media, VPRO and Woedend! brought different storylines to life. It starts with Christel Stuyt from Amsterdam who posts make-up tutorials on YouTube and shows her running tracks on Facebook. One day she takes 90 minutes longer to finish her usual run through the Vondelpark and she has no idea what happened. From that moment on, she’s feeling worse and worse, as seen in her YouTube videos and on her social media profiles. After a few days she’s looking really bad and she can even pull large pieces of skin off her face. After that Christel disappears, nobody knows where she went. And Christel is not the only missing teenager. Her mother Maria Stuyt starts a search.

Meanwhile, Max de Burgh and Jules Carillio spot some suspicious characters walking in Amsterdam. As sci-fi fans, they’re pretty good at recognizing zombies and they know that this can only mean one thing: the zombie apocalypse is coming. Since the government is not taking them seriously, Max and Jules decide to warn people themselves. They start Zombie-alarm to gather evidence and tips.

When Max and Jules go to Lowlands they think they’re at safe distance from the zombies, but that wasn’t the case. These living dead were all around the music festival. We are introduced to Amber, her boyfriend Jamiro turned into a zombie at Lowlands. On national television Max and Jules try to warn people, but no one believes them.

Zombies on Lowlands

Zombies on Lowlands

After Lowlands Christel returns back home. It’s her mother’s birthday. But not much later the confused girl leaves the house again.

Max and Jules receive an anonymous tip that they should come to the Westerpark. They ask site visitors to help them out. Once they’re in the Westerpark it becomes clear why they needed to come. Behind one of the buildings there’s a hideout with a group of zombies in it, including Christel. When Max and Jules try to get closer to the evidence, two vans with agents are driving up the Westerpark. The agents are with the ISB (Interventionteam Special Securitymissions) and they brutally take the zombies with them. Then an investigator needs to do his job by collecting evidence from the scene. He secretly hands over cards to players. It leads them to the Z-leaks website, where ISB documents are leaked.

ISB in action

ISB in action

The talkshow Take 10 pays attention to the growing zombie problem. Clairy Polak leads the discussion. Maria Stuyt thinks her daughter is treated like an animal and demands an explanation. Jules also wants more clarity. The Dutch people have the right to know what is going on. Herman van Stompetoren, ISB spokesman, denies the whole incident.

On Z-leaks a new action is announced. This time it will happen at the Noordermarkt. The ISB takes a group of zombies, but apparently they are too late. The zombies already caught a man and the loud grunting creatures are tearing the flesh of his body. One ISB’ers is fed up with the whispers between the investigator and Max. After a fight he takes them both into his car. The action gets attention of local and national television.

In an intense second episode of Take 10 epidemiological advisor Tom Finkers is calming down to the audience. During the broadcast Z-leaks is hacked and replaced with a threatening video of  the ISB’er that took Max and the researcher. He has released Max, but the researcher is not so fortunate. It is clear that the ISB’er doesn’t let anyone push him around. Max and Jules decide to go hiding, but the danger is not over…

Evaluation

There are lots of things in SALIGIA-7 that we are proud of, but there is also a lot that we could have done better. I wrote down the 3 most important strengths and weaknesses.

Three things that were good about this project:

  1. We used a ludic marker. This is an icon we placed on every piece of content we created. It’s useful for players so that they know what is part of the storyworld and what isn’t.
  2. We made a script that was like our holy bible during the project. The smart thing about the script was that it not only contained video’s, but also every single blogpost, tweet and facebook update.
  3. The live-events were a big success. Because there is an audience you only have one shot and you have to do it right. Everyone needs to know their place and their story. When the audience is participating in the scene, the only thing you can do is improvise, and that is a lot of fun! Tip: If players have been interacting with characters on-line, make sure you tell the actors about it!

Three thing that we will do better next time:

  1. Take 10 was too weird for people who didn’t know the story. When you have the opportunity to use a mass medium, such as TV, use it wisely. Not everyone is going to enter the rest of the storyworld so make it a standalone. People who only see this part of story need to be entertained as well.
  2. And when you want to persuade these people to find out more about the storyworld, you need to tell them that. We’ve experienced that most people won’t go looking for more content by themselves, that’s why some parts of our story was never found. You really need to take your audience by the hand and show them how it’s done.
  3. One way to make your story more immersive is to make it more interactive. Give the audience the chance to influence your story in multiple ways. I think we didn’t give the players enough opportunities to do this in SALIGIA-7.

A lot has happened during the first 3 weeks of the story, and this is only the beginning of the SALIGIA-7 adventure. It is way bigger than you would expect. Questions that remain are: Why are kids the only ones getting infected? Where did the ISB bring the zombies? And are they still ‘alive’? Maybe you’ll find out one day… Stay tuned and stay alive!

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Public broadcasting goes transmedia

Dutch public broadcaster are not scared of trying something new. A number of innovative transmedia projects came from Hilversum. This is partly made possible by special grants from the Media Fund. Out of eighteen proposals they have selected five transmedia projects for production. One of them is Who’s in, who’s out, which will air in 2012. Another project has recently been launched.

Hola Lara
Submarine and VPRO, 2011

Hola Lara is a new project by the VPRO and Submarine in co-production with Red Kite Animation and Tomavistas. Hola Lara is not only a series of 16 episodes on Z@pp, it is also a blog, various social media pages and a website with games.

Hola Lara

Hola Lara

The series is designed for 9 to 12 year old children. They are introduced to Lara and her friends on an international school in Spain. Lara, Daniel, Akira, Tommy and Monica are living with host families for a year and experience all kinds of things. Of course they get to know a new culture, but they are also dealing with familiar teenage troubles: puppy love, pimples and divorced parents.

The story is partly told on television, but the rest is found online. Lara writes on her blog every day and you can become friends with the characters on social media. On the site a new game is launched every week, by playing these games you earn Créditos. This allows you to buy stuff to dress your avatar. The avatar with the most votes will appear in the VPRO Magazine.

Transmedia? I say yes. And it is also international. Hola Lara is also shown in Scotland (BBC) and Spain (TVC).

Curious? Visit www.vpro.nl/holalara

Who’s in, Who’s out
NewBe TV, Tuvalu Media and BNN, 2012

In this 2012 television series, we will follow six ambitious young people with a dream. At the Dutch Stage Academy, they are trained to be an actor, singer or dancer. But the question is… Who’s in, who’s out? Several cast members are chosen online. Via the website, anyone can audition for several episodes. This is done with the “Interactive audition tool.” Who would not want to play a scene with famous Dutch actors such as Manuel Broekman or Sarah Chronis. If you get the most votes, you get the role and you are to be seen in the television series. But you have to show your best, because if the audience does not like you enough, you will be out in no time.

A nice idea, but you do run the risk of being amateurish. Fortunately, other important tasks, such as script writing and directing, are done the professionals. That’s one of the things that makes this project different from Paul Verhoevens new film. I think Who’s in, who’s out is more likely to succeed, because the interactivity fits the concept.

To find out more or watch the auditions, go to http://wiwo.bnn.nl/

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Symposium: The way to Transmedia

Saturday november 5th, the symposium The way to Transmedia will take place. This event is part of the Imagine Fastival and is hosted by TransLAB Rotterdam, a platform that is all about Transmedia Storytelling.

Babbe Noya and I will tell something about our project called Sam and his Worldkids-Reports. A transmedia project we developed for Radio Netherlands Worldwide.

But there will be more interesting speakers:

  • Red Chocolate’s Daan Sip about the latest SOA AIDS campaign
  • Michiel van Jaarsveld about Restart, the social media soap (TV Lab)
  • ARG designer Joeri Rodenburg about ARGs and transmedia
  • Melle Bos (Online Oxygen)

After the speeches there will be a discussion between different creators to see how their insights and opinions relate to one another. This symposium is worth your precious time. Plus, entrance is entirely free.

Saturday November 5th
Start programme: 16.00
Location:
Gouverne (former Lantaren Venster)
Gouvernestraat 133
Rotterdam
Check: http://www.translabrotterdam.nl

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Transmedia ethics

I have seen it a lot lately: transmedia stories that are told as if they are real. This way, people are immersed into the story. They wonder whether or not it is true and they start the discussions. I started to think about the ethics of transmedia storytelling. Is it ethical to make people believe in stories that are not true? How far can you go? And where do you draw the line?

LonelyGirl15

LonelyGirl15

LonelyGirl15, the teenager who shares her life with her webcam and the world wide web. The story starts with simple adolescent issues, school, parents, boys. No one even suspects that Bree is played by an actress. Some people see her as a friend and share their joys and sorrows with her. The story is getting darker as it becomes clear that Bree’s parents are part of a secretive religious sect and they suddenly disappear. When the observant and suspicious viewers discovered that it was all fake, the story continues. People still find it interesting. But what about the teenagers who found out their friend Bree does not exist, that they have had personal contact with a social media manager for weeks and that they have been worrying for nothing. Nobody is talking about that…

Is it the creators responsibility to protect these people? And how do you do that? It is a possibility to develop a logo for transmedia projects. If this logo is shown on all expressions of the story and links to information about the veracity, it would save some people a lot of trouble. But such a story will all of a sudden be a lot less exciting. You want people to be scared and having them to convince themselves that this is not real, that this is fiction, that it’s all in their heads. But what if they can’t tell the difference between the storyworld and the real world? Will they stay scared?

I think you can let people believe in stories that aren’t true, but you should always keep an eye on the impact it has on your audience. Here are three important questions.
1. Is it scary?
2. Is it personal?
3. Is it realistic? The reality and the storyworld are blended.

A transmedia project is ethical if no more than 2 of these 3 questions can be answered with ‘yes’.

An example: Final Punishment.

This story starts with articles in reputable newspapers and on news websites, there is a new high-tech prison, but hackers have managed to crack the system. Very realistic and quite scary, but it is not personal. It is not an existing jail, nobody has anything to do with it personally. That’s why this project is ethical.

Another example is Your Other You, a campaign for Toyota. On the website you leave some information about a friend and he will be stalked for one week. One of the five maniacs leaves him personalized emails, text messages, phone calls and movies. Funny? Don’t think so. How would you feel if you were harassed by an idiot who seems to know everything about you every single day? It is realistic, scary and very personal. I would say this project is ethically irresponsible.

Ofcourse there will be exceptions to this rule and we have to try things to find out what works. So as a transmedia creator, always keep your audience in mind. You can make mistakes, but it is your responsibility.

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Me, MySpace and I

I wrote this article in 2009, but the issues are still applicable. Therefore I find it worth sharing.

“Attention Whore”, “Get a life”, “Just commit suicide!” On the Internet you can say it all. Who’s stopping you? People are much harder and meaner online than they are in real life. Why would you even consider the feelings of others? As long as you’re having fun. The anonymity of Web 2.0 changes the people to selfish attention seekers.

The slogans in the introduction are not mine, they are reactions on the blog called ’90 Day Jane’. “I’m going to kill myself in 90 days” is the logline of the online diary of the 24-year-old American. She tells the world about the last days of her life. Visitors are yelling things, they would never have said in real life. Of course I have my doubts about 90 Day Jane. It’s the anonymous internet, where anyone can pretend to be whomever he wants. But is it just a cry for attention or is she actually planning to kill herself? With that question unanswered, you can not express your opinion like this, so fierce and ruthless. But perhaps Jane shouldn’t have asked for it.

Web 2.0, the new World Wide Web, is seen as a good development. It gives people the chance to do everything online, including generating their own content. YouTube, MySpace and Facebook are examples of websites that use this principle. Web 2.0 also enables people to respond to all user-generated content, so they can interfere everywhere. Is that a good development? Is that something that mankind has been waiting for? I don’t think so.

According to bestselling author Andrew Keen all this has to do with the infinite desire for personal attention. “Blogs and social networks are just about the ‘me’. People talk about ‘my weblog’, ‘my MySpace profile’ and ‘my videos’. It is about creating their own places in the virtual space. It is not much more than digital masturbation,” says Keen, “They say it’s all about ‘social networking’ with others, but in reality, the user-generated content exists to promote ourselves.”

And that brings us back to ’90 Day Jane’. Did she want to promote herself? Become popular? The answer didn’t keep us waiting. The blog was taken off the internet and ‘Jane’ explains that it was no more than an art project. She says she had to take her blog down, because people thought it was reality. ”That is not a reaction that I expected nor can I morally justify.” Can you believe it? Of course, she expected this. She just wanted the fame, the attention and the feeling that what she did made ​​a difference in the world. Virtual or real.

But Jane, don’t you realise the difference is already made? January 26, 2008 – Four suicide attempts after chat sessions. November 22, 2008 – Teen commits suicide on webcam. November 27, 2008 – Woman guilty of MySpace suicide. These are just a few of the messages in this manner. Bizarre, yes, but it’s nothing new. Proof is already found. Things that people do and say in the virtual world affects reality. And this is usually not something positive.

Not only suicide is propagated on the internet. So-called pro-ana and pro-mia web forums are promoting the eating disorders anorexia nervosa and bulimia nervosa. Because according to ‘Ana’s’ and ‘Mia’s’ these are not diseases, they see it as a lifestyle. They give tips on how to throw up or use laxatives to lose weight. The reports of these unhealthy wannabe supermodels are getting insecure girls in life threatening situations. ‘Ana’ and ‘Mia’ aren’t thinking about the consequenses. Their meddlesome, sick behaviour ruins lives. Supposedly, they help others, but they really only think of, you guessed it, themselves.

People forget their morality when they log in on their computer. They only keep an eye on things that have to do with themselves and their own egos. Look at ‘Jane’, ‘Ana’ and ‘Mia’. Yes, they get attention. And yes, they get plenty of visitors. That’s exactly what they wanted. But what they do already affected so many people. They reached their goal in a bad way, by using other people. Web 2.0 makes it easy for people to be selfish. But they are no better than anyone else, even if they have ten thousand friends on Facebook.

Sources:
- Andrew Keen. The Cult of the Amateur. How Today’s Internet is Killing our Culture and Assaulting Our Economy. London: Nicholas Brealey Publishing, 2007
- Website 90 Dag Jane Blogspot: http://90-day-jane.blogspot.com/
- Website NOS Headlines: http://headlines.nos.nl/forum.php/list_messages/9467
- Website De Pers: http://www.depers.nl/economie/127990/Web-20-is-zelfbevrediging.html
- Website Nu: http://www.nu.nl/internet/1408089/vier-pogingen-tot-zelfmoord-na-chatsessies.html
- Website Trouw: http://www.trouw.nl/nieuws/wereld/article1907124.ece/Tiener_pleegt_zelfmoord_voor_webcam.html- Website Nu: http://www.nu.nl/internet/1860353/vrouw-schuldig-aan-myspace-zelfmoord.html
- Website Pro Ana: http://www.pro-ana.be/
- Website Pro Ana Love: http://proanalove.punt.nl/
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Inspiration session with Wefilm

Woedend! invited Bas and Roel Welling to come and talk about the inspiring movies and commercials they create. The founders of Wefilm first introduced themselves and told us what they do. The Welling-brothers were always passionate about film. As young boys they took their camera everywhere to make films together. Roel went to film school and became a director, Bass worked as a freelance producer alongside his economic studies. They made lots of commercials for agencies such as Comrad, but then they saw interesting opportunities in online film. They started the production company Wefilm, where they had the chance to make great movies that people wánt to see. Now it has developed into a successful company with a full trophy case.

One of Wefilms first virals was Max the Hacker, an online series of videos about a boy who breaks into a variety of technical systems. For example he hacked the announcement system of the NS and the digital signs above the highway. The movies were very popular and the project has given Wefilm a huge spurt.

But how can you make sure that your online film becomes a success? You do not have the certainty that people will see it, as in television commercials. There are certain factors that can you can influence, for example when the movies are to come online. According to Bas, it is important to keep an eye on the number of views. Once that starts to fall it’s time for a new movie, so you make sure that its popularity increases. Roel thinks your film should be controversial, so that people want to see it and share it. But he also thinks you need a bit of luck, because there are so many videos uploaded every day, it is very difficult to stand out. We never say that we are going to make a viral. We make an online movie and afterwards we can say whether it was a viral.

This was also the case with Stanislav, which was shown on Hyves (a Dutch social network). The movie used the data from your personal profile. A mafia club is looking for someone, but not just anybody, they are looking for you. They know everything about you, where you live and who your friends are, your photos roll off the printer and your name is written on the board. Fortunately, it is a campaign to warn you for posting personal data on the internet. This personalized movie was obviously a technical masterpiece, but it also had the desired effect. People started thinking more about what they post online.

As you can see, it can really work well, but it remains quite difficult to convince customers of this way of advertising. We can’t guarantee them it will work and it takes a little courage to go for it. Wefilm now has a portfolio of successful projects where they can refer to, but if you don’t have that, you will have to do it otherwise. Make clear that people are watching online movies actively. That’s why these films have more impact than the TV commercials that are forced upon them.

Make sure your concept is new and nobody has done it before, then there’s greater chance of success and you can satisfy your customer without real evidence. Never try to copy a successful project, as pale imitations of earlier projects are quickly recognized.

The last project that the brothers Welling showed us is not online, but in a public space. Public service employees frequently encounter aggression and violence. On a huge billboard, the onlookers are confronted with their behavior. They see that violence is used against ambulance staff, but they do not intervene.

In the movie they talk about an interactive billboard. The audience plays a role in the film, but does not affect the events, they are passive and do nothing. Therefore, I think interactive is not the right word. It certainly is effective, the strength lies precisely in the non-activity. Tomorrow is the award show of the ADCN advertising year prizes, where this project is also nominated. Wefilm, good luck tomorrow and thanks for all the tips!

 

Woedend! nodigde Bas en Roel Welling uit om te komen praten over de inspirerende films en commercials die ze maken. De oprichters vertelden eerst even wie ze zijn en wat ze doen. De passie voor film was bij de gebroeders Welling al vroeg aanwezig. Als jonge jongens gingen ze al met een camera op pad om samen films te maken. Roel is naar de filmacademie gegaan en werd regisseur, Bas werkte, naast zijn economische studie, als freelance producer. Ze maakten onder andere commercials bij bureaus als Comrad, maar in online film zagen zij een interessante ontwikkeling en een gat in de markt. Ze startten het productiebedrijf Wefilm, waar zij de kans zagen om mooie films te maken die mensen wíllen zien. Inmiddels is het uitgegroeid tot een succesvolle onderneming met een flink gevulde prijzenkast.

Eén van de eerste virals van Wefilm was Max de Hacker, een serie online filmpjes over een jongen die inbreekt in allerlei technische systemen. Zo hackt hij het omroepsysteem van de NS en de digitale borden boven de snelweg. De filmpjes werden ontzettend goed bekeken en het project heeft Wefilm een enorme spurt gegeven.

Filmpje: http://www.youtube.com/watch?v=CxwPEQLGh9M&feature=related

Maar hoe zorg je nou dat zo’n filmpje een succes wordt? Je hebt niet de zekerheid dat mensen ernaar gaan kijken, zoals bij televisie commercials. Er zijn bepaalde factoren waar je wél invloed op hebt, bijvoorbeeld het moment waarop de filmpjes online komen te staan. Volgens Bas is het belangrijk om het aantal views altijd goed in de gaten te houden. Zodra dat begint te dalen is het tijd voor een nieuw filmpje, zo zorg je dat de populariteit weer stijgt. Roel vindt dat je filmpje zo spraakmakend moet zijn dat mensen het willen zien en delen. Maar hij denkt dat je ook een beetje geluk moet hebben, want er worden elke dag zoveel filmpjes online gezet, dat het heel moeilijk is om op te vallen. “We zeggen nooit dat we een viral gaan maken. We maken een online film en achteraf kunnen we pas zeggen of het een viral is.”

Dit was ook het geval bij Stanislav, dat te zien was via Hyves. Het filmpje maakte gebruik van de gegevens uit jouw persoonlijke profiel. Een maffia club is op zoek naar iemand, maar niet zomaar iemand, ze zoeken jou. Ze weten alles van je, waar je woont en wie je vrienden zijn, jouw foto’s rollen uit de printer en jouw naam wordt op het bord geschreven. Gelukkig blijkt het om een campagne te gaan die je waarschuwt voor het online plaatsen van persoonsgegevens. Deze gepersonaliseerde film was natuurlijk een technisch hoogstandje, maar het had ook nog eens het gewenste effect. Mensen gingen beter nadenken over wat ze op het internet zetten.

Filmpje: http://www.youtube.com/watch?v=VbvHPrzqto0

Het kan dus heel erg goed werken, maar toch blijft het vrij lastig om klanten te overtuigen van deze manier van reclame maken. Je kunt ze namelijk geen garantie geven dat het zal werken en het vergt een beetje lef om hiervoor te gaan. Wefilm heeft nu een portfolio met geslaagde projecten waar ze naar kunnen verwijzen, maar wanneer je dat niet hebt zul je het op een andere manier moeten doen. Maak duidelijk dat mensen actief naar online filmpjes kijken en dat ze daardoor meer indruk maken dan de tv-commercials die je worden opgedrongen.

Zorg ervoor dat je concept nieuw is en dat niemand het nog gedaan heeft, dan is de kans op slagen groter en kun je de klant voor je winnen zonder echte bewijsvoering. Probeer nooit een succesvol project na te apen, want slappe aftreksels van eerdere projecten worden snel herkend, en uitgespuugd.

Het laatste project dat de Welling broers lieten zien staat niet online, maar in de publieke ruimte. Mensen met een publieke functie krijgen vaak te maken met agressie en geweld. Op een enorm billboard worden de omstanders geconfronteerd met hun gedrag. Ze zien dat er geweld wordt gebruikt tegen ambulancepersoneel, maar ze staan erbij en kijken ernaar.

Filmpje: http://www.youtube.com/watch?v=ybtEwjenRFY

Er wordt in het filmpje gesproken over een interactief billboard. Het publiek speelt een rol in de film, maar heeft geen invloed op de gebeurtenissen, ze zijn passief en doen niets. Daarom vind ik interactief niet het goede woord. Effectief is het zeker wel en de kracht zit hem juist in de non-activiteit. Morgen vindt de uitreiking van de ADCN reclame jaarprijzen plaats, waar dit project ook voor genomineerd is. Wefilm, veel succes morgen en bedankt voor alle tips!

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Sam and his WorldKids-Reporters

On behalf of the MediaLab and Radio Netherlands Worldwide Babbe Noya and I have developed a project for (future) expat kids. Sam and his world-Reporters kids is one of the first transmedia productions in the Netherlands. The project has brought us the Silver SpinAward for Young Talent.

Children who are moving abroad will face a few issues:

  1. Fear of the new country
  2. New language
  3. New culture
  4. New school
  5. New friends
  6. Homesickness
  7. Keeping in touch with the Netherlands

To assist them with these challenges, we developed a transmedia project. The children are spread all over the world, so the best way to reach them is online. It is also good when they are actively engaged with the changes in their lives so that they cope with them better.

The online series is about Sam (Benjamin Murck), an 18-year-old boy who was an expat. He just became an editor at WorldKids and he is looking for reporters to bring stories from around the world. If you are moving abroad, you can also become a reporter. To show Sam that you can handle it, you need to do five assignments and then you’ll get the official WorldKids press card.

Sam is searching for Reporters

Sam is searching for Reporters

It is transmedia, because the story is told on various platforms and each platform tells a different part of the story. The children can also participate in the series, they can do things, make things and figure things out for themselves. They do this on different layers of the story.

At first there is the drama layer. Sam is being sabotaged by Mrs Schimscheiner (Griete van den Akker). She is an old-fashioned journalist who doesn’t want anything to do with the internet, social media, children or opinions. She was fired from the Radio Netherlands Worldwide and therefore takes it out on the new, creative Sam.

Then there’s the educational layer. The children learn journalistic skills through various movies and assignments, like how to write a good article or how to make a nice item. There are also interviews with a number of experts, they give the kids directions on things as radio and video, but also about homesickness. This way the children will prepare themselves for their life as an expat.

The third layer is about social media. The children learn to deal with social media like Facebook. So they can expand their network, and they can stay connected with family and friends in the Netherlands.

We produced the complete project and it will be launched soon. The series consists of 18 episodes, seven video interviews and five assignments. These are spread across various websites and platforms. Below you can see the introductory episode.

Special thanks to: The MediaLab, Gijs Gootjes, Kasper Kamperman, Martin Oostenbrink, Inge Brinkman, William Koornstra, Maarten Almekinders, Hetty Kleinloog, Radio Netherlands Worldwide, Suzanne van der Wateren, Michiel Haijtink, Albert Bek, Benjamin Murck, Griete van den Akker, Wendy Segaar en Marjolijn Ruyg.
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A silver spinring for Sam

Last night the award-show of the SpinAwards 2010/2011 was there. Babbe Noya and I are now the proud owners of a silver spinring for Best Young Talent. Another silver award was for the traffic campaign Shotgun, made by Hal Gabin and Eefje Liebrecht (Fontys Eindhoven). The golden ring was for the notorious Blur Shirt by Nik Sluijs and Nanette Visser (Willem de Kooning Academy).

Silver SpinAward

Silver SpinAward

The organization kept us enthralled for quite a long time. When the moment was finally here, we were told that this category would be presented by alderman of Amsterdam Gehrels. This meant we had to wait until after dessert

The awards were accompanied by an elegant five-course dinner, provided by Davanti. In the fantastic Zuiveringshal West there were meters long tables with hundreds of silver chairs. I noticed that all the middle tables were very broad and I thought the gorgeous waitresses were going to run on these catwalk tables . I was flabbergasted when it appeared that this task was reserved for the nominees. I wished I left my high heels at home! But once we made our entrance along the wine glasses and dishes and everyone applauded it gave an incredible thrill!

During the main course there were no awards presented. On the tables between the asparagus and fried polenta, two guys did their daredevil feats on their BMX. And after a delicious glass of Limburg pie it was now time for the Young Talent category. We did not expect to win anything, so it was extra fun when they called our names. Sam won Silver!

In the report of the jury* they wrote about interactivity, creativity and business strength. This we designed in our own way, from our own perception and experience. The presentations of both Shotgun and Sam impressed the judges and therefore the two projects were awarded a Silver SpinAward.

Henny van Velzen (SpinAwards Foundation) was very enthusiastic: “We are extremely pleased with the winners in the category Best young talent. In this category, the  SpinAwards foundation takes responsibility for the upcoming generation of creatives. This generation has grown up entirely digital and therefore has a personal view on the future of communication. They provide a new perspective on our profession. ”

It was a very nice evening that I certainly did not want to miss. And now that I’m about to graduate, this SpinAward is the crown on my education. Thanks to everyone who helped us to make Sam and his WorldKids-Reporters to what it is today. Thanks!

*Source: MarketingFacts

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Pizza meeting brutally disrupted

As you may know I am currently an intern at Woedend!, a communications agency in Amsterdam. I am working on a transmedia campaign with Lydia van der Spek. In order to clarify to everyone within the company exactly what we’re doing, we could give them an ordinary presentation, but we came up with something much cooler. On thursday, march 24, Lydia and I let our colleagues feel the excitement and fun that such stories can evoke through a mini transmedia experience.

During the pizza meeting, a meeting at Woedend! where everyone can show what he is doing or what he finds interesting, we put down a black box, with “Open me” on it. No one had noticed, until it was our turn to present and we suddenly vanished.

Inside the black box was a folded page of a newspaper with “Help” written on it. On the front page of the newspaper there was an article about two missing interns. “There are speculations that the police suspects an angry colleague, but chief of police Welten has not confirmed this. The two may be detained at an unknown location.” At the bottom of the box is a folded old towel with a URL written in blood.

Frontpage of a newspaper and a towel with blood

Frontpage of a newspaper and a towel with blood

On this website you can see a photo of us, the kidnapped trainees. The next clue is hidden in the text below the image. Because the red letters in the text say: youtubewoedendkidnap, therefore search woendendkidnap on youtube.

In the video on YouTube, we ask whether someone can help us. We’re locked up with a kryptonite evolution lock 2000, how can we hack it? The answer (by using a BIC pen) can be found via google and emailed to free.dydia@gmail.com.

If the answer is correct you get a response email: “We hacked the lock, but we can not open the door. We know that the offender has a hidden memory stick somewhere, perhaps it contains more information. We overheard something about “between the beams”… Make sure you search well and help us out of here, good luck …!”

Searching for the memory stick

Searching for the memory stick

O the memory stick there’s a document called !!!SECRET!!!, this is a Flash application in which all Woedend! employees are suspects. Who is the culprit? is the question. Clicking on the wrong photo you will get a clue, for example, when clicking on a blond person: the offender is not blond. Ultimately, only one suspect remains, but is he really the kidnapper? A movie of the culprit appears, when he takes of his hat and a scarf, they can see who it is.  It’s Remco, the former intern. He regrets his abduction and gives the code of the door. The numbers are mailed to us and we’re finally free!

Too bad we were kidnapped, because everybody said it was fun to join this tiny adventure! We got lots of positive reactions and the photo’s speak for themselves!

We want to give credits to our role model: the SXSW presentation A Mime is a Terrible Thing to Waste by No Mimes Media Partners Steve Peters and Maureen McHugh.

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NPOX lab 2.0 with Christopher Sandberg

Tuesday march 29th was the second edition of NPOX lab: Transmedia in Hilversum, with a few interesting speakers.

Jeroen Koopman, Newbe TV

Newbe TV invents, makes and sells crossmedia, transmedia and interactive formats. About this Jeroen Koopman says: Content is more important than concept.

If you want to sell your format, potential buyers want to see results, but this is a catch 22. You can’t prove your format, if is isn’t broadcasted and it won’t be broadcasted, if it isn’t proven. Koopman found a solution to this problem: Get it proven, online. Make an online platform to show your pilot and ask your viewers for feedback. In this case it is important to declare that it is not (yet) on TV.

Newbe TV showed us a few of their newest formats:

Who’s in who’s out? http://www.whosinwhosout.nl/
This is a crossmedia (or transmedia), interactive drama TV-series about a dramaschool in Amterdam. Koopman describes it as a fame-like dance-series. It will be on Z@pp by BNN soon. The influence of the audience will be limited to the ‘Who?’ and not the ‘What?’. The reason for this is that it has to be a high quality drama and the viewers who don’t participate won’t be bothered by the interaction. The project is reminiscent of the American series: the LXD.

The Good Morning Girls
For this format Newbe TV looked at what is popular online. It will not work if you simply move the videos from the internet to television, but you can translate it into a new format. That’s what Koopman did with the popular styling and make-up tutorials he found online. In the MTV-series The Good Morning Girls this morning ritual plays an important role. Soon, teenage girls are taking their smartphones to the mirror every morning to follow the tutorials.

The Viral Factor
The pilot of this new format with Saar Koningsberger and Deniz has already had lots of publicity, without people knowing what it was about. Later it became clear it was part of a new show called: The Viral Factor. It’s about making movies that are so cool, that people will spread them. That worked out really well for the first one:

A nice anecdote Jeroen Koopman shared with us was that he had contacted a popular stop-motion maker from Australia. Koopman was surprised this filmmaker was not interested in cooperation. It was much easier for this guy to make money on YouTube and he didn’t want to risk his online popularity.

Zwolse studenten over werken met QR, www.qrhunt.nl

A group of students have developed the first Dutch QR game: Lethal Codes. It’s an alternate reality game, where people need to find clues in the city by scanning QR codes. When you scan one of these QR codes you can see a piece of the film on your phone. The goal of the game is to solve the mystery and save the world. The game is in first person perspective and therefore the film is too. This summer we will be able to play the game in Giethoorn and Zwolle.

Christopher Sandberg, the company P

And there he was, Christopher Sandberg, executive producer of The Truth about Marika. This creative director with a background in LARP, new media and games, starts by saying that a book with transmedia in the title will do much better than a book that has crossmedia written on the cover, in other words: transmedia sells.

‘Everything changed’, but ‘People changed everything’. They participate and they’re engaged. They step into your product and they have influence. ‘Content is people’.

There are different levels of influence:

  1. Viewer. The user is just a product consumer and has no influence.
  2. Opinions. The audience is a service user. An example is voting for predetermined options.
  3. Cooperation. There is a deep engagement.
  4. Co-creation. This is transformative, the user is able to change and adjust things.

If you want a good relationship with the user, it’s useful to let them cooperate and/or co-create. Allow the audience to care about the characters and the story and let them use their emotions.

What happens to you is important, not so much what you experience. Conspiracy for Good is a good example. The core of the story is greed and how it affects the world. This is a true story, well, mostly. It is important to identify a villain, in this case Blackwell Briggs, a fictional multinational. This “asshole of an enemy” is supposedly the source of all miseries in the world. Documentaries, websites, communities, guerrilla marketing, live events and more formed the trans-media ecosystem. The result was that the participants could really the world a little better through this fictional story.

The audience wants to believe the story, even though they suspect it not to be true. This can lead to Pronoia, Sandbergs term for the opposite of paranoia, you believe that everything has something to do with the story. Not in a negative way, but to make your life better. Ethics is important, so make sure fun is the main driver to continue playing the game.

Sandberg’s latest project Treasures will probably be launched worldwide in 2012. The EBU has also invested in this drama participation. The story begins with an interesting idea. On satellite pictures you sometimes see clouds, but what if they were photoshopped on there to conceal secrets such as a hidden oil ring. This fact leads to an international search,  on the web, TV, tablets, mobile and in real life. We hope that we will be able to play it in the Netherlands as well.

Ian Ginn introduced us to Chistopher Sandberg and we had a brief chat with him. Maybe we’ll meet again in the future. I think we can learn a lot from him.

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