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FIRST MOTI ON HOW TO TELL & SELL A STORY IN A DIGITAL WORLD? FIRST MOTION: 2010 – 2012 RESEARCH, PRACTICE & LEARNING Part-financed by the European Union (European Regional Development Fund)


Sweden

Russian Federation

Finland Norway

Baltic Sea

Estonia Latvia

Denmark

Lithuania Belarus Poland

Germany

FIRST MOTION countries

BALTIC SEA REGION PROGRAMME AREA 2007 – 2013


01 CONTENT Editorial .................................................................................... 02

INTRODUCTION: FIRST MOTION Programme and Objectives ............................................................... 06 Project Partners ........................................................................... 07 The Baltic Sea Region .................................................................... 10

PROJECT IN DEPTH Av-industries: Initial Situation ........................................................ Set Targets ................................................................................. Taking Stock: Status Quo in 2012 ....................................................... Innovation, Creativity, Communication................................................ Advisory Board ............................................................................. »Cultural Diversity is Necessary« ......................................................

12 13 14 16 17 18

OUTPUT IN DETAIL Research and Development .............................................................. First Call Projects ..................................................................... Second Call Projects .................................................................. Baltic Universe............................................................................. Education and Training .................................................................. Tools ......................................................................................... Baseline Research......................................................................... Guidelines and Recommendations .....................................................

20 21 23 26 28 31 37 39

OUTLOOK Navigating to Future Media ............................................................ 44 First Motion Publications............................................................... 46 Contact and Further Information ..................................................... 48 Imprint .................................................................................... 49


02 EDITORIAL DEAR READER, when we started with FIRST MOTION in 2009, we were certain to be working on an upcoming field: cross- and transmedia as a complement to classical media in the av-business. And we defined ambitious targets for the project. After three years of creative process, exciting practice and thorough research, we have approved of being on the right way. Surely, since we moved on and solved many challenges, new questions have arisen, waiting to be dealt with. The changes in media business and in av-industry, in particular, are going on as fast as ever.


03 2009: OUR POINT OF DEPARTURE Film funding in Europe has existed since the 1950s. In the last twenty years, public served film funding has been built up in most states in the Baltic Sea Region. Institutional film funding aims at supporting film culture and film industry in special regions or nationwide by means of financial support, credits, consulting, festival prices and helping to gain international recognition for films produced. Complementary to its supporting effect, film funding functions as a steering and controlling tool – so it consequently has to readjust the own policy regularly in order to synchronize to the swift development on the market. One of the driving engines behind the big changes in film industry over the last years was the digitisation in production and distribution. This was especially difficult to cope with by small production companies who weren’t able to research and develop new advanced ways of producing and distributing their products while trying to survive in business. They were fighting more and more on closed markets in TV and cinema and suffered the dependency and uneconomical structure of this kind of monopolistic market. The legislative framework in the Baltic Sea Region is specified by national laws and differs throughout the countries, even though the EU is on the way to harmonize international law. The business activities are strongly influenced by national procedures of funding and some additional EU structure fonds. The academic level and training in the av-industry varies from country to country and is mostly nationally determined, often not allowing easy access to other markets.

2012: WHAT WE HAVE DONE FIRST MOTION tried to support the paradigm shift in the media industry evoked by the digital development and thereby focused on four crucial points: production, distribution, education and business models. One way for the small production companies in the Baltic Sea Region to overcome their fragile situation is to co-produce with partners in the same or other regions, to explore new markets, to develop new business models and to gain knowledge of the legal situation of the current region. FIRST MOTION initiated practical experience for film and media production being transferred from traditional formats to cross- and transmedia by activating new resources. Sixteen pilot productions were realized, supported by FIRST MOTION in research and development, testing new production and business models. Strategies to explore new markets via cross- and transmedia production were introduced.

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FIRST MOTION has not only improved the understanding, the transnational approach and the institutional support for crossmedia cooperation but also intensified our possibilities of communication in the Baltic Sea Region and furthermore. Dr. Eberhard Schmidt-Elsaeßer // State Secretary of the Ministry of Justice, Cultural and European Affairs Schleswig-Holstein // Germany


04 A MA programme and a BA programme »Crossmedia Production« were created and established. A handbook on building up cluster landscapes was published. Compiling research on the legal structure in countries of the Baltic Sea Region was done. The online-platform Baltic Universe for collaboration and distribution was launched. These are only some of the FIRST MOTION outputs. Read more about them and all the other aspects of our work on the following pages. We hope, you’ll find it as interesting to read as it was for us to work on. We’re certain that the process of digitisation in av-industry is going on producing further chances in the Baltic Sea Region. And we, the project partners, will keep involved. Baltic Film and Media School // Estonia Boost Helsingborg // Sweden Estonian Film Foundation // Estonia Film Fund Hamburg Schleswig-Holstein // Germany Filmby Aarhus // Denmark High-Tech Accelerator, University of Lodz Foundation // Poland Lodz City Council // Poland National Film Centre of Latvia // Latvia The Alexandra Institute // Denmark University of Agder // Norway December 2012

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I believe crossmedia and transmedia of the sort promoted by FIRST MOTION have a bright future in the Baltic Sea Region, where creative industries will offer a major part of future jobs. I find the »Baltic Universe« online platform for distribution of av-products especially interesting. Jan Lundin // Council of the Baltic Sea States // Sweden


INTRO DUCTION FIRST MOTION


06 PROGRAMME AND OBJECTIVES The EU-funded new media project FIRST MOTION, an association of ten partner institutions in seven countries of the Baltic Sea Region (BSR) under the auspices of the Film Fund Hamburg Schleswig-Holstein, sees itself as a pioneer and innovator of sustainable business models at the intersection of audiovisual creative industries and regional development. The project’s aim was to fund new formats and ideas, to research new markets, valuechains and business models, to develop a new distribution platform for the Baltic Sea Region, to install training and education courses and to improve clusters and policy guidelines. The goal was to improve the business environment susceptible for innovation and to overcome the weakness of insufficient use of innovative potential and low intensity of joint efforts in the BSR.

POTENTIAL OF CHANGES THROUGH DIGITISATION Over the years, digitisation has brought massive changes, which have the potential to stimulate economic growth and the creation of new high-skilled jobs in the audiovisual sector. The audiovisual industry in the BSR consists mainly of small and medium sized enterprises (SMEs) with limited capacities for innovation by own resources. FIRST MOTION looked at the topic from different angles and connected them to an unified approach, thereby fostering innovation. SEEKING SOLUTIONS OF HIGH PRACTICAL RELEVANCE FIRST MOTION combined the four relevant domains »Industry Capacity Building/Market Development«, »Institutional Capacity Building/Policy Development«, »Cluster/Regional Development« and »Education and Training« into one holistic project in order to start effective developments in the concerned areas. The four research and development areas formed the four work packages structuring the project partners’ fields of activity. FIRST MOTION employed a Triple-Helix approach (university, industry and government) to ensure solutions of high practical relevance and their implementation. The close bond of the industry to all work packages ensured hands-on solutions to relevant problems and their efficient dissemination.

FIRST MOTION 2010 – 2012: THE FOUR AREAS OF WORK Cluster Regional Development

Institutional Capacity Building Policy Development

Industry Capacity Building Market Development

Education and Training


07 PROJECT PARTNERS FIRST MOTION was formed by ten partners from seven countries. They can be divided

into three basic areas: film funds, universities and national or regional developers or municipalities, all with a different profile, area of expertise and aim.

DENMARK Filmby Aarhus (FA) is the regional film center of West Denmark including a business park for av-businesses, The West Danish Film Fund, a talent incubator, two professional film studios and the host role of international projects. Filmby Aarhus’ interest in FIRST MOTION was to gather new knowledge on crossmedia production and distribution and make this available and operational for a larger circle of entrepreneurs and SMEs. Also the film center wished to develop and exchange insights on cluster management and business development. www.filmbyaarhus.dk The Alexandra Institute (AI) builds bridges between research, business community, public institutions and citizens. AI develops IT based products and services that create social value and contribute to financial growth by means of research-based innovation. In FIRST MOTION AI contributed with different competences such as business understanding that focuses on its knowledge about innovation management, commercial modelling and effective measurement. www.alexandra.dk

ESTONIA The Tallinn University Baltic Film and Media School (BFM) is the only university in Northern Europe teaching programmes in television, cinema, media and communication in English. A variety of curricular options lead to careers or graduate studies in film and television production, broadcast journalism, new media, advertising and public relations. In FIRST MOTION the BFM was responsible for »education and training«. It developed and established a new Master and a new Bachelor programme for crossmedia production and implemented laboratories and a summer school for young professionals. www.bfm.ee The Estonian Film Foundation (EFF) is the main financer of the national film production. It has the necessary knowledge for launching new ideas and serving as link between Estonian filmmakers, distributors and other players in the audiovisual

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I believe, the av-industry faces a great challenge in joining the frontier of transmedial and crossmedial storytelling expression. Are we really needed here? What abilities do we possess that can push this means of expression forward? Janic Heen // Producer // Norway


08 field. In FIRST MOTION it acted as locally responsible coordinator of the project, interlinking all players, disseminating information about the project and assuring its visibility in Estonia. www.efsa.ee

GERMANY The Film Fund Hamburg Schleswig-Holstein (FFHSH) is a service provider, facilitator and financer for the regional av-industry. As Lead Partner of FIRST MOTION, FFHSH was responsible for the general, the financial and the information management inclusive the Berlinale receptions. FFHSH coordinated the pilot productions, called for tenders and provided guidance and support. Besides, FFHSH concentrated on gaining knowledge in important future markets for its clients and in developing appropriate new policies and structures. www.ffhsh.de LATVIA The National Film Centre of Latvia (NFC) is a state institution under the Ministry of Culture. It administrates the Government’s financial support to Latvian films, prepares legal acts and Governmental documents, preserves the national avheritage, promotes Latvian films abroad, cooperates with international and national organisations, issues video distribution licences in Latvia and forms a data-base of Latvian films and filmmakers. In FIRST MOTION, NFC was strongly involved in animation, in the Baltic Universe platform and in cluster building. www.nfc.lv NORWAY

The University of Agder (UiA) aims for contributing significantly to the development of the region, with study programmes and research relevant to business and commercial development. Within FIRST MOTION, UiA brought in its competence from its media and economic faculties with a focus on commercial aspects of the distribution of av-products. It was mainly responsible for the development of the Baltic Universe platform. www.uia.no

POLAND The High Tech Accelerator, University of Lodz Foundation (HTA) is a business entity connecting science and market in innovative areas like av. The main interest of HTA in FIRST MOTION was to share knowledge and experience of existing value chains and business cooperations, while gathering new insights in media cluster management and business development services. www.ciat.uni.Lodz.pl

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The role of crossmedia, transmedia and interactive media for av-industry will become more relevant from spheres of entertainment to education and learning, to usage in various sectors – such as tourism, medicine, etc. Ilze Gailite-Holmberga // National Film Centre of Latvia // Latvia


09 As local authority Lodz City Council (LCC) promotes the economic and cultural development of Lodz with special emphasis on the creative sector. A regional development for the av-industry approach must be transnational. FIRST MOTION provided the LCC with this approach and enabled it to provide improvements of impact. In return, the LCC contributed Intellectual Property Rights research and Information and Communication Technology tool development tailored for European needs, facilitating film productions. www.uml.Lodz.pl

SWEDEN Boost Helsingborg (BHbg) is an initiative based in Helsingborg that nurtures exceptional emerging talents within the moving image industry in Sk책ne. A pioneering programme that aims to develop new storytelling techniques in close cooperation with the various branches, industry professionals and rising trends. FIRST MOTION enabled BHbg to broaden its work into an international pan-Baltic structure, providing the project with already gathered experiences and benefiting through the transnationality of the project activities. www.boosthbg.se

Navigating to future media: partnermeeting 2012 in Helsingborg, Sweden


10 THE BALTIC SEA REGION Initiated by the European Parliament in 2009 and coordinated by the European Commission, the EU Strategy for the Baltic Sea Region strives for more intensive cooperation between the Baltic countries and shapes the region into a cooperation model for the whole EU. The strategy aims to save the sea, connect the region and increase prosperity. The implementation of the strategy is financed from different EU funds in the area including the Baltic Sea Region Programme.

THE BALTIC SEA REGION PROGRAMME The overarching strategic objective of the Baltic Sea Region Programme is to strengthen the development towards a sustainable, competitive and territorially integrated Baltic Sea Region by connecting potentials across the borders. As part of Europe, the Baltic Sea Region is expected to become a better place for its citizens to invest, work and live. The programme thus addresses the European Union’s Lisbon and Gothenburg strategies in order to boost knowledge based socio-economic competitiveness of the Baltic Sea Region and its further territorial cohesion.

PRIORITIES AND TARGETS Between 2007 and 2013 the programme co-finances projects in fields of: Priority 1: Fostering innovations Priority 2: Internal and external accessibility Priority 3: Baltic Sea as a common resource Priority 4: Attractive and competitive cities and regions Among the expected practical outcomes of the priorities are: Feasibility studies New business opportunities Investment proposals and direct investment strategies Action plans Policy approaches Good practice solutions Expected common results of the supported projects are an increased political recognition of project results, greater sustainability of transnational cooperative networks and unlocked public/private investments. FIRST MOTION is one of 26 programmes of the first field of priority: fostering innovations.


PROJECT IN DEPTH


12 AV-INDUSTRIES: INITIAL SITUATION The audiovisual (av) media generally encompasses all means of communication that tend to the visual and/or auditory senses. The economic sector of the av-industries includes businesses such as television, film and radio industry, production companies, interactive media and computer games industries, or photo imaging companies. Digitisation has brought changes which have the potential to stimulate economic growth and the creation of new high-skilled jobs in the audiovisual sector. Though widely recognized, this potential has not yet been utilised. Generally, av-industries are characterized by fragmented and small domestic markets, low equity, creative but less-business attitude of producers, critical legal situation (Intellectual Property Rights and Digital Rights Management), high pressure and massive changes.

CREATIVE INDUSTRIES POTENTIAL: OVER-PROPORTIONAL RATE As part of the creative industries in general, the audiovisual sector is one of the propelling forces towards the Lisbon agenda as the 2006 report »Economy of Culture in Europe« by the EU-Commission duly noted. Its growth and job-creating ability are over-proportional compared to other industries. According to this study, in 2003 more than 5 million people were working in the creative sector in Europe, generating 2,6 % of the gross domestic product (GDP), making it to one of the biggest economic sectors. Research proves the importance of creative industries. The economist Richard Florida postulated three »t« needed for a strong urban development: talent, technology and tolerance. He showed the spill over and indirect returns created by the creative class, enhancing regional attractiveness and improving the social climate. The audiovisual industry includes competences and methods of expression which can be used advantageously outside the industry’s own business context and thereby contribute to a favourable economic and creative regional development.

SECTOR DEVELOPMENT: CALL FOR JOINT EFFORT Before FIRST MOTION was initiated, the innovation potential of audiovisual industries in the Baltic Sea Region was used insufficiently, and the intensity of joint efforts in this sector was rather low. FIRST MOTION set out for a combined approach of jointly developed strategies for production, distribution, funding, regional development and new curricula.

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The project gave students a chance to present a different way of thinking about the problem of crossmedia and to find the methods to connect different types of media. It expands the imagination and gives a new perspective in thinking about the future of av-sector. Andrzej Bednarek // Polish National Film School // Poland


13 SET TARGETS In order to exploit the potential of the av-sector in the Baltic Sea Region, the FIRST MOTION project partners defined the targets and their strategic approach. The goal was to provide optimal conditions to the three pillars of the project – industry and business, state and government, teaching and training for the development of small and medium enterprises in the Baltic Sea Region. FIRST MOTION wanted to reach a new understanding of the creative sector and how it is linked to information and communication technologies, knowledge transfer, education and economic growth among all players. The project partners saw the need to explore new approaches to production, distribution and funding schemes (product, process, and funding innovation), and to adjust the economic development framework (educational system, business development services, cluster structures) of the Baltic Sea Region.

DESIRED SITUATION AFTER PROJECT COMPLETION Four targets predefined what the project partners wanted to have achieved after three years: 1. An innovative, self-sustained market and communication platform (Baltic Universe) is established and running, where all members of families or any kind of social and artistic groups, scientific and business communities can share a common interest with diverse perspectives, different motives and intellectual property. 2. Improved institutional support through better understanding and a new perception of the creative sector as high skill growth sector and knowledge of its potential impact on regional economic development; focusing on innovation, based on pilots (new business models), strategy papers and guidelines for institutional support (Business Development Services) of creative industries. 3. Established Baltic Sea Region av-industry cluster through regional incubators in the partner countries, based on regional av-industry clusters working along the value chain (creating, producing, packaging, marketing, distribution) and crosssector cooperations (e. g. tourism, education, culture) – the latter starting to benefit by using new digital av-methods for their business purposes. 4. An international master curriculum for the offspring of the convergent av-media industries is developed. Professional training schemes for crossmedia production are available (e-learning/Business Development Services/education). Lifelong learning and innovation will be stimulated with the annual summer academy (living LABs) for practitioners, civil servants, academics and students.


14 TAKING STOCK: STATUS QUO IN 2012 Not surprisingly, FIRST MOTION has had three very busy years: researching, experimenting, producing and evaluating different themes and products in order to achieve the targets set in 2009. As crossmedia and transmedia stand for very new developments, it was an open question how far the results of FIRST MOTION’s work could reach. On top of this it turned out that the process of digitisation in the avindustries was emerging very fast at the same time as FIRST MOTION was approaching new ideas, solutions and structures for coping with the demands of digital change. The market and collaboration platform Baltic Universe, for instance, which FIRST MOTION has been developing, had to be altered in its aims and architecture several times because of changing needs in audiovisual business. Today, it can be considered that FIRST MOTION has generated a lot of output to serve as basis for further development. It has picked up the threads that occurred for industries, governments and universities dealing with the upcoming challenges. »How to tell & sell a story in a digital world« has been the leitmotif. To implement this challenge in terms of practical relevance recommendations in form of open questions have been formulated to politics, industry and educational system. FIRST MOTION’s output can be summed up in six points: 1. Research and Development 16 pilot productions in seven countries, testing different production models in different funding bodies and national contexts 2. Baltic Universe a distribution platform and collaboration tool for film- and crossmedia-producers 3. Education and Training MA and BA curriculum at Baltic Film and Media School; laboratories for young producers; train-the-trainer programme for mentors; a book on crossmedia strategies in media industries 4. Tools Business Development Services: how to build up business in crossmedia and transmedia; Cluster Landscape Handbook: creating professional networks and new business models; IPR-Guide for the Baltic Sea Region: intellectual property rights in international context; Business Planning Tool for producers 5. Guidelines and Recommendations digital distribution, business development services, law, funding schemes, creative clusters and cross-industry linkages 6. Baseline research on all fields of business, governing and education

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FIRST MOTION has brought important knowledge about crossmedia production both for the partners and the av-companies in the Baltic Sea Region. The project has broadened our horizon and given us the opportunity to strengthen our Baltic network. Eva Hubert // Film Fund Hamburg Schleswig-Holstein // Germany


16 INNOVATION, CREATIVITY, COMMUNICATION Digitisation, crossmedia and transmedia projects, new business models, digital distribution methods, modern funding schemes et cetera – there surely are plenty of technical, economic and political fields for innovation in FIRST MOTION. Besides, the process of learning, creating ideas, discussing and spreading them in the Baltic Sea Region was somewhat innovative itself. The question had to be answered how FIRST MOTION could be able to generate new crossmedia and transmedia approaches, make practical experiences, evaluate the results and draw the right conclusions in very short time on a rapidly changing market.

PRACTICAL EXPERIENCE AS THE KEY TO INSIGHT 16 new projects of young producers from all seven participating countries functioned as nucleus. They were chosen to receive a financial support by FIRST MOTION for research and development of their cross- or transmedia ideas. It was an hands-on approach as the young enterprises had to create a product that should be marketable and show a way of creating new business. But they weren’t left alone with this. They participated in two laboratories together with the other projects, where they presented ideas and their preliminary work, discussed them, received theoretical input and practical tips.

MENTOR WORKSHOPS: TRAIN THE TRAINER Each project had its own mentor who supported the team behind the project to unfold their potential in the initial phase. Only half of the mentors had practical experience with running a crossmedia or transmedia project or at least playing an active part in it. They were mainly members of film funding institutions and film schools or universities. So it was crucial to get the mentors qualified at the same time as the producers. Therefore, special mentor workshops were held where the mentors created a common platform of methods, models, tools and principles for their job. This learning process took place in 2010 and 2011. Young producers getting inspired by other young producers, mentors helping the productions to get on the track, and cooperation of mentors setting up standards: a network of practitioners in crossmedia and transmedia across the Baltic Sea Region has been founded and will hopefully extend in the coming period.

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I am thrilled to bits about the huge contribution that FIRST MOTION has made to the branding of transmedia solutions as an important and meaningful activity. My own projects have really profited from so much serious publicity. Esben Ravn Kjaer // Producer // Denmark


17 ADVISORY BOARD In order to broaden the discussion about FIRST MOTION, to disseminate its results in other networks and to participate from the experience outside, an advisory board was initiated. It acts as an informal network, responsible to the general idea of FIRST MOTION and the demands of the daily work of the board members. As pointed out in the charter, »the members of the board affirm, by accepting the honorary membership, their interest to communicate information, expertise and results of FIRST MOTION research to the av-industry in all directions and according to the pattern of demand. The members of the board also agree to be informed by the project and follow up organizations about results and outcomes and signal interest in using the information to make policy. They also act as counterpart to check on what FIRST MOTION partners are doing and advise on further strategy. Advisory Board members agree to publicly endorse FIRST MOTION. The members of the board take advantage of their institutional networks as well as the existing FIRST MOTION network to foster a sustainable growth and development of the av-industry in cultural and economic sense.« The advisory board consists of at least three to a maximum of ten members. It met several times during the FIRST MOTION project period and will go on meeting in the future. The members are (as of November 2012): Charlotte Appelgren // Secretary-General of Cine-Regio // Denmark Eva Hubert // CEO Film Fund Hamburg Schleswig-Holstein // Germany Jan Lundin//Director General, Council of the Baltic Sea States Secretariat//Sweden Edith Sepp // Cinema Adviser, Ministry of Culture // Estonia Dr. Eberhard Schmidt-Elsaeßer // State Secretary of the Ministry of Justice, Cultural and European Affairs Schleswig-Holstein // Germany

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I hope, crossmedia can become a link between film industry and gaming, advertising, design or other industries, and helps in bringing professionals together to create new extraordinary projects. Edith Sepp // Ministry of Culture // Estonia


18 »CULTURAL DIVERSITY IS NECESSARY« An interview with Charlotte Appelgren, Denmark, Secretary-General of Cine-Regio How significant are cross- and transmedia for the future of av-industry in general? Appelgren Digital technologies are changing the way films are financed, produced, distributed and watched. We are now in the most challenging period in the history of cinema. Digital technologies have created a demanding culture – an expectation of immediate access to content and one in which opinion is instantly shared across networks. Which specific role could crossmedia play for the av-sector in the Baltic Sea Region? Appelgren For the film and media companies in the Baltic Sea Region crossmedia is an opportunity to create economic sustainability. To face the competition and remain strong in the future, the av-sector in the Baltic Sea Region must be innovative in terms of adapting to the new market terms of digital and individualized consumption. Crossmedia can act as a tool to exploit film-based IP, diversify on to other platforms and engage new audiences. Audiences want to be engaged and involved and crossmedia offers a way of meeting this demand. Crossmedia also provides a strong framework for innovation since experimentation with crossmedia projects requires new innovative approaches and cooperation between previously unrelated industries both in terms of the creative content and experimenting with new business models. What do you wish for the future after FIRST MOTION? Appelgren Let us ensure that the crossmedia opportunities and the ground-breaking work of FIRST MOTION will contribute to European cultural expression, cultural diversity, sustainability and economic growth across Europe. We must keep reminding ourselves that cultural diversity is as necessary for mankind as biodiversity is for nature. Cine-Regio is a network of regional film funds in Europe. The network is continuously expanding and today represents 38 regional film funds from 13 EU Member States, in addition to Norway and Switzerland. The members exhibit a range of support schemes and services to the film sector which aim to support film culture, encourage social cohesion and build regional infrastructure. www.cineregio.org

Charlotte Appelgren // Secretary-General of Cine-Regio // Denmark


OUTPUT IN DETAIL


20 RESEARCH AND DEVELOPMENT As described before, an important part of FIRST MOTION was to build capacity in the av-industry for new crossmedia formats – including their efficient production and models for sustainable support as well as the collection of expertise about the emerging markets to begin with. FIRST MOTION chose 16 projects in two calls for tenders; the idea was for SMEs and their institutions (government bodies) to execute the research and development in a hands-on approach, namely the implementation of concrete project ideas. As primary stakeholders they were asked to build up key innovative areas, relevant knowledge and necessary structures for their individual projects.

FIRST CALL PROJECTS WERE KEEN TO EXPERIMENT The creative industries – and with them a lot of small and medium-sized enterprises in the av-media sector – were and are eager and interested in narrowing the shores of the digital and crossmedia world in order to stimulate economic growth and create contemporary and sustainable business models. When FIRST MOTION started its first call in 2010, more than 60 submissions from all over the Baltic Sea Region were handed in. Seven succeeded in convincing the FIRST MOTION partners. The first call projects experimented with new business models and methods of telling and selling stories and av-content. The projects looked at the topic from different angles and highlighted varying aspects: some were concentrating on the interaction of story and audience, on user-generated content and its influence on the final media product. Some were focussing on alternative financing methods, time and money saving production workflows and distribution concepts. Others tested the range of possibilities and the usage of crosssectorial spillovers in order to create synergy effects between different markets. INITIAL FUNDING WAS COMPLEMENTED BY WORKSHOPS AND MENTORING All projects convinced the FIRST MOTION committee because of their innovative approaches to the use of crossmedia possibilities, their stories and the teams attached to the projects. The funding included up to 30.000 Euros for initial development, two mandatory international workshops, individual mentoring by FIRST MOTION partners as well as digital publishing and international marketing of the pilot product.

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If we want to reach large scale audience, not only those people who are generally interested in non-commercial films we must work »crossmedia«. But not only in the sense of crossing media channels and platforms, but also as educational platforms in schools. Ilona Bicevska // Producer // Latvia


21 FIRST CALL PROJECTS LATVIA 15 YOUNG BY YOUNG by Ilona Bicevska and Roys Dauburs is a multimedia documentary project consisting of a series of 15 short stories and animated memory episodes all directed by 15 young filmmakers from the 15 republics previously part of the former USSR. The project aims to contribute creatively to the process of European historiography and offers a lot of interfaces between different types of media, genres and cultural discourses. www.15youngbyyoung.com

GERMANY FISH & ONIONS by Marc Brummund, Rene Fischer and Bettina Herzner is an ethnographic documentary project that deals with the Russian Old Believers who settled down in Eastern Estonia. The project team shot documentary footage about their traditions and daily reality in villages at the shore of Lake Peipus, in order to tell their stories, memories and thoughts. www.fishandonions.eu

ESTONIA KULTUUB by Agne Nelk, Aet Laigu and Peeter Erik Ots aims for transferring the social experience of meeting, exchanging thoughts, notes and cultural preferences from real life to a virtual platform functioning as an anonymously organized open space and melting pot for Estonian culture and mentality. www.kultuub.ee SWEDEN LARGER THAN LIFE by Nic SchrĂśder and Tobias Lundqvist is a web based crossmedia project offering a whole new world of possibilities to improve the sound quality of crowdsourced video clips and professional concert videos. It enables the user to improve the audio and visual quality of his/her media product and so combines user-generated content with a new professional product. www.youtube.com/watch?v=Tj3Vs2JG5S4

DENMARK NO 1 THE JESUS RIG by Rune Christensen and Anders Berthelsen The Jesus Rig is an innovative time and money saving rigging tool developed for medium and large productions – like Number One, an animated sci-fi comedy/drama


22 about small players in a large intergalactic game. The Jesus Rig is a single rigging tool for minimizing repetitive tasks during the animation of multiple characters. www.balticuniverse.com

NORWAY NORTHERNERS IN THE TIME OF CHOLERA by Frode Vestad and Havard Axel Kator focuses on the climax of the Cholera pandemics in the 19th century at the coastal cultures around the Baltic Sea by assembling numerous local stories about the conditions and consequences of and the struggle against the epidemics. The histotainment project can be used online and offline for educational purposes in the fields of research, museums, media, and cultural institutions in general. www.timesofcholera.com GERMANY SUPERHERO BLOG by Stefan Gieren is a multiplatform storytelling project revolving around the fictive high-school graduate and wanna-be-superhero Robin who wants to learn from the best, and starts a three-month internship at New York’s legendary Captain Impact. By sharing Robin’s life as a superhero intern via social media platforms, the fully plotted story supports and provokes the participation of users who can post feedback and comments. www.balticuniverse.com

Share life with wanna-be-superhero Robin: www.balticuniverse.com


23 SECOND CALL PROJECTS In February 2011 FIRST MOTION called for a second round of applications from creative entrepreneurs in the field of transmedia storytelling and innovative approaches to transmedia project implementation. From almost 100 applications from all over the Baltic Sea Region, nine projects were chosen for an initial funding. As with the first call projects, participants of the selected productions each took part in two international workshops on transmedia. Together with external experts and regional mentors, these LABs provided for discussions and knowledge transfer in such fields as development, production, marketing and distribution. The mentors themselves had to attend a training which qualified them for the supervision of the projects.

NORWAY 2TIMES ANN by Catherine Kahn, Trond M.K. Venaasen, Jorge Lino and Charlotte Kahn is an interactive crossmedia project, promoting community building and social engagement through storytelling. Targeting an audience of girls between 11 and 17 years, 2Times Ann wants to offer an intense experience with gaming and in-show participation. Through the fictional web series 2Times Ann, girls are given the chance to support, discuss, advice and help two fictional Anns, both 15, in dealing with their issues, dreams and challenges. The users’ pro-active involvement will feed the content of the 2Times Ann drama. www.2timesann.com

DENMARK DREAM EQUILIBRIUM by Frederik Villumsen and Jeanette Norgaard is an imaginative transmedia sci-fi adventure told across several platforms, such as an e-comic, animated episodes and computer games. Each platform serves as a unique window to the story. Animated episodes of the e-comic will branch out into multiple storylines – all of them allowing users to follow the campaigns of those who battle for the dominion of the human mind. All characters of Dream Equilibrium burdened with a fantastically odd handicap – seeming to have the potential to develop into unique powers if guided in the right direction. www.dream-equilibrium.com

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FIRST MOTION explored the frontiers of next generation storytelling. A visionary endeavour. In the past two years, the art and technology of crossmedia have become crucial to our industry. Stefan Gieren // Producer // Germany


24 GERMANY FIVE MINUTES TO THE FUTURE by Christoph Corves is the FIRST MOTION supported transmedia extension of the project YooWeeDoo. The idea of YooWeedoo is to bring so-called changemakers, social innovators and social entrepreneurs together in a virtual community for people who feel that their destination is to create sustainable solutions for society’s challenges. YooWeeDoo supports people’s ability to become a changemaker by inspiring, mentoring, networking and collaborating with other members of the community. Additionally, YooWeeDoo hosts online competitions to identify and fund the best ideas for social innovation and social change. www.yooweedoo.org SWEDEN GHOST ROCKETS by Kerstin Übelacker and Michael Cavanagh is an interactive universe with a community, web content and an online-based investigation game which refers to a documentary film portraying the organization UFOSweden and how it in 2012 is embarking on its biggest investigation ever. Since 1946, approximately 2,000 unidentified objects have been seen in the skies above Sweden. The phenomenon has become known as the Ghost Rockets. The project will accompany UFO-Sweden’s search for a tangible answer or a glimpse of truth, something that can explain what has happened in the last decades. www.ghostrockets.se ESTONIA DAGÖ-SWEDES COMMUNITY PROJECT by Riina Hein The idea of this special heritage project is to build a virtual monument to an ethnic group called Dagö-Swedes and to help their culture last before it will be lost to future generations forever. In order to meet this end, the project team employs different transmedia techniques which allow them to compile and preserve impressions, traditions and customs of the few descendants of Dagö-Swedish emigrants to the Ukraine. The project also introduces the community life of Dagö-Swedish descendants in Sweden and Canada. www.livinghistoriesworld.com LATVIA MAGIC BIRD by Inga Praulina is an interactive crossmedia game for children aged 5 to 8. It tells the story of a family with three children. One day the family discovers that the father has lost his laughter. The player now has to choose one of the three children as his »avatar« and set it out into the world to find the Magic Bird who can bring back laughter

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Transmedia is a platform for innovation which democratizes storytelling. When a region supports transmedia, it opens up doors for talents to create an entirely new industry. Kerstin Übelacker // Michael Cavanagh // Producers // Sweden


25 to the father. On his journey to Magic Bird Land, the player has to master several adventures and needs to befriend different animals to help him along the way. www.balticuniverse.com

LATVIA SHAMMIES by Sabine Andersone is an animated crossmedia project for pre-school children, discovering the world based on games, fantasies and word plays. The Shammies are four small curious beings: Sockie, Hankie, Mitten and Pillow, living in a colourful textile house. With the character Mr. Cat, the Shammies luckily always have someone around to watch and help them learn about everyday tasks and discover the curiosities of our world. www.theshammies.com POLAND THE SKATE BOAT by Róza Misztela, Leyla Cömert and Anita Kwiatkowska-Naqvi is a project about skateboarding – meant for everyone to participate in the process of creating and re-creating the history of skateboarding. The filmmakers turned the idea into a transmedia storytelling approach, giving both the producers and the skaters more space and opportunities to participate in the process of the storytelling. The project now includes a website with the virtual casting of skaters for the next part of The Skate Boat film, interactive maps of skate-spots, the Skate Boat game, blogs and the documentary film itself. www.skateboat.pl

GERMANY TELL ME WHO YOU ARE by Jessica Landt and Falk Nagel is a cross-cultural transmedia project about youth, identity and body language. Millions of people worldwide share a passion for dancing. Tell me Who You Are wants to connect dancers and dance enthusiasts on an interactive web platform. On yourbeat.org, dancers from all over the world are invited to share their individual stories, styles and dance moves in form of videos, pictures and information. The dynamically growing online community will be lined with stories of dancers that the project team meets along the way. www.yourbeat.org

Never heard of Ghost Rockets before? Learn more about it: www.ghostrockets.se


26 BALTIC UNIVERSE One of the main objectives of FIRST MOTION was to design and launch an online collaboration tool and distribution platform for film- and crossmedia-producers in industry, universities and schools. As a community for artists and audiovisual craftsmen who believe in the principle that the more we share, the more we get, the platform should be open for everybody and everybody’s benefit. This complex tool is a joint venture of all FIRST MOTION partners, mainly brought on its way by the University of Agder (Norway), the National Film Centre of Latvia and the Film Fund Hamburg Schleswig-Holstein (Germany).

BETA-VERSION FOR GAINING EXPERIENCE In February 2011, the beta-version of Baltic Universe was launched under www.balticuniverse.com. It was co-developed, tested and improved by the FIRST MOTION projects of the first call. In close collaboration with the av-industry, Baltic Universe was constantly adjusted in the beta-phase to the requirements and changing conditions of crossmedia business and e-learning in media schools.

FINAL VERSION ON ITS WAY The final version of Baltic Universe is going to be released at the closing conference of FIRST MOTION in December 2012, accompanied by an active marketing process beforehand. Baltic Universe will consist of three areas: VOD-tool (Video on demand) sophisticated distributing of film on the internet. Includes embedding of films with payment system directly integrated in the player Project-tool can manage a project from concept to final product and distribution. Useful for structuring the process of a project. It includes calendar, tasks, file- and links-library Adress register of film and media partners, companies, teachers and students; sortable by various aspects


27 Baltic Universe is a non-profit project and nearly free of costs for its users. The code is open sourced and can be copied or extended if required. Baltic Universe will be run at least for five years by a group of owners recruited out of the pool of FIRST MOTION partners. The company will be set up as European Economic Interest Grouping (EEIG). Finding partners, exchanging ideas, starting cooperation at all project stages, distributing content and getting revenue becomes easier with the Baltic Universe. FIRST MOTION launched an effectively working instrument for self-determined networking, project development and distribution within the creative industries aiming to fire and stimulate dynamic economic growth within the BSR. By offering such a non-profit tool, FIRST MOTION contributes to the upgrowth of new time and money saving production and distribution structures, social cohesion and cross-cultural collaboration strategies, new business models and value chains while increasing product quality and availability.

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Since Gutenberg, the control of distribution has been the source of media power. FIRST MOTION pointed out important directions and linked together energies – so that people in small and middle-sized companies could take control of the distribution. Bjorn Enes // Producer // Norway


28 EDUCATION AND TRAINING CROSSMEDIA PRODUCTION – AN INNOVATIVE MA CURRICULUM FOR THE BSR Higher education programmes in the area of media content production are usually focused on specific silos of knowledge and skills. One can, for instance, learn to become a film producer or a TV producer, radio producer etc. However, in the era of media convergence and the emergence of new areas of practice such as crossmedia and transmedia, these well established domains of knowledge and practice might be understood as too limited. Therefore exists an emerging need to train the professionals of the new era in order for them to be able to operate across the multiple platforms of modern media landscapes. How can we transfer audiovisual content to interactive media platforms? How can we tell stories that integrate all these platforms and media into one multifaceted storyscape? How would we cooperate with users to develop our stories further? How do you develop relevant business models for your innovative crossmedia product? These are some of the questions that the Baltic Film and Media School’s (BFM) pioneering Master Curriculum »Crossmedia Production« addresses. BFM is an institute of the University of Tallinn, Estonia. Launched in autumn 2011, the programme was one outcome of FIRST MOTION’s target to install a professional education opportunity for creatives in the BSR. The very practical course follows the hands-on, minds-on approach, and blends the study of audiovisual production for multiple platforms, creative business development and applications for interactive media in an innovative and stimulating programme. Content, structure and composites of the MA-Curriculum Crossmedia Production were tested by FIRST MOTION’s partner institution BFM at the laboratories, the so called LABs: two series of international workshops for the participants of FIRST MOTION’s first and second call. Those LABs helped to develop, improve and adjust the first international crossmedia programme in the Baltic Sea Region. A Strong Network of Expert Partners Supports the Programme Crossmedia Production is run jointly with the University of Tartu (Estonia), while the region’s leading business school, the Stockholm School of Economics in Riga (Latvia), provides the entrepreneurship module. Students split their time between three top universities in the Baltic States. In addition, faculty members of Tallinn University’s Institute of Informatics teach the Interactive Media module.

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The FIRST MOTION project was spot-on in that it helped to create a new international curriculum to fill the void in the Baltics, and it is well ahead of most film schools in Europe at that. Martin Aadamsoo // Baltic Film and Media School // Estonia


29 The programme’s strength lies in its close cooperation with the leading media and communication companies in the Baltic region – the largest broadcasters and online media companies, production houses, major mobile operators, IT companies, etc. The business partners provide the programme with facilities for internships, while their staff members supervise and consult on students’ projects. The programme ends with a practical crossmedia project that is innovative not only artistically, but also in its business applications and technical solutions. The graduation projects are produced in teams supervised by internationally acknowledged academics and practitioners. Next Steps Have Been Taken Building up on its success – 17 students from six countries have taken part in the two rounds of the MA programme – in addition, a BA programme »Crossmedia Production« has been launched combining the areas of IT, management and audiovisual media production, offering both theoretical grounds and exciting practical assignments. The 3-year-programme started in September 2012. In 2013 BFM will run a summer school on crossmedia production for the first time. Young professionals of the Baltic Sea Region will have the opportunity to improve their knowledge and train their practical competences in a short term course. BFM will therefore cooperate with several partners, also aiming for knowledge transfer between them. www.bfm.ee/programmes/crossmedia

A NEW BOOK ON CROSSMEDIA In November 2012, a new book »Crossmedia Innovations: Texts, Markets, Institutions« was published as one of the outcomes of FIRST MOTION. The editors Dr. Indrek Ibrus from Tallinn University and Dr. Carlos A. Scolari from University Pompeu Fabra, Barcelona, asked authors from three continents for their contribution. As crossmedia is an emergent practice that arises as one of the core sources of complexity and innovation for late modern cultures they approached the phenomenon from different disciplinary angles: semiotics, cultural studies, media economics, political economy, innovation studies. On more than 300 pages they give a review of the current situation and formulate perspectives for the future (see page 46).


31 TOOLS 1 BUSINESS DEVELOPMENT SERVICES One of the objectives of FIRST MOTION was to strengthen the development of business amongst companies in the field of crossmedia. To meet this end, several different activities were conceived and carried out by the Danish project partners: Pixel Jam an intensive three-day workshop focusing on transmedia ideas and bringing creative industries and creative professionals together. The Wheel of Growth companies from the av-sector were screened for challenges and potentials in their development, in cooperation with consultants from the Vaeksthus Central Denmark and North Denmark Development Centres DFI-Day Filmby Aarhus invited The Danish Institute of Film and local politicians to a debate on how to develop and maintain talents in West Denmark. Passion A/S a series of workshops structured around various themes related to business development

DRIVING BUSINESS FORWARD The workshop series Passion A/S targeted crossmedia businesses in the Central Denmark and North Denmark Regions. It was designed to provide the companies with business development tools, allowing them to work strategically and more professionally. The objectives were: to give the companies skills in business development to strengthen the network among the crossmedia companies and expand it to other industries, business promotion actors etc. to collect and document specific experiences in relation to future business development courses and policy in the area to sharpen the companies' international focus Each workshop included a combination of keynotes, group work, discussions, networking and pitching. They were planned on the basis of a survey among the regions crossmedia companies in order to meet their specific needs. For the evaluation of the workshops, the project partners looked closely at the process, content and

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Crossmedia and transmedia enable an innovative approach to the storytelling and to building business strategies. In addition, new distribution channels make it possible to reach new audience groups. Maciej Strzembosz // Polish Audiovisual Producer's Chamber of Commerces // Poland


32 sequence of events, as well as the benefits reaped by the participants. It is based on questionnaires answered by the participants after each workshop. The evaluation will be used to formulate policies in the area and as direct input in the form of »proof of concept« for local and regional business promotion actors in order to strengthen their endeavours for crossmedia companies in future.

TOOLS 2 HANDBOOK ON CLUSTER LANDSCAPES As part of their engagement, the FIRST MOTION partners aimed to provide stakeholders of the av-sector with tangible tools that support their efforts in business development. The Danish regional FIRST MOTION partners Filmby Aarhus and The Alexandra Institute defined guidelines for creative clusters and their management. Their expertise then went into the creation of a very hands-on, non-typical tool: the Handbook on Cluster Landscapes. It is meant for cluster managers or companies in a cluster and focuses on creating the fuel for driving emerging audiovisual clusters at the level of small business parks further along in its development. The fuel consists of trust and transparency amongst the companies and administration within a cluster. The handbook invites the members of a cluster to reflect about their work and what could help establish the right foundation to move on.

A CLUSTER LANDSCAPE CANVAS TO FUEL DEVELOPMENT According to the handbook’s authors, a cluster has to be founded on existing interlocated companies that have a potential for complementing each other within the same field of expertise. A foundation of trust and transparency will help companies to establish professional and personal relationships and raise the potential for increased innovation and productivity in their cluster. To create the fuel or foundation for further development of a cluster, the handbook focuses on eight key areas that make up the Cluster Landscape Canvas. The eight key areas and the recommendations made in the handbook are based on


33 needs and opportunities uncovered from the research of the audiovisual business park Filmby Aarhus in Denmark: Identity The identity of a cluster is the colour shot through everything and is therefore the most important area of a cluster. Crossmedia Crossmedia and transmedia are areas which gain a lot of attention these years and hold a promise of lifting the audiovisual industry out of the challenges it faces. Physical Surroundings The physical surroundings should play into the way people within the audiovisual industry conducts business. Visible Manager Making sure the manager and the activities that he or she performs are visible within the cluster create trust and openness between the administration and the companies. Noticeable Administration In general the cluster administration’s job is to tie the cluster together and spread information about their activities and the identity. Communication If the communication is not two-way or lacking, it is a breeding ground for misconceptions and rumours and will create a dispersed cluster. Matchmaking In order to get the synergy effects rolling that clusters have been known to create, matchmaking activities need to take place. Growth To create growth, a cluster should never be allowed to settle into old routines. The companies in the cluster should be kept inspired and ambitious. By inviting young talented people and thereby provoking old ways of thinking about business is something every cluster should do. The Cluster Landscape Canvas is located in the fold-in at the back of the handbook, and can be found on www.clusterlandscapes.com for download. The Cluster Landscape Handbook is meant to be a tool for reflecting about the current situation of a cluster and work as a springboard for further development.

CLUSTER MANAGERS CAN SHARE IDEAS AND EXPERIENCES

Within the handbook, the Cluster Landscape Canvas is recommended to be used as a reading companion in which the cluster manager can add the recommendations he wants to pursue while reading the handbook. Besides, the canvas works as a tool for bringing out own recommendations or needs about the eight key areas or additional ones that seem relevant. Cluster managers are also invited to share ideas and experiences on www.clusterlandscapes.com.

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FIRST MOTION has enabled the development of truly unique new curricula at the Baltic Film and Media School and has also served as a valuable structure enabling the development of crossmedia virtual cluster in the Baltic Sea area. Katrin Saks // Baltic Film and Media School // Estonia


34 TOOLS 3 A COMMON GUIDE FOR COPYRIGHT LAW IN THE BSR In order to support the development of the audiovisual industry of the Baltic Sea Region, the Polish FIRST MOTION partner Lodz Film Commission created the »Guide to Copyright Law« or, briefly, »IPR Guide«. IPR stands for Intellectual Property Rights; the guide documents important issues of different digital distribution rights for all Baltic States. It is aimed at SMEs involved in digital distribution on transnational markets and wants to provide them with basic practicable knowledge concerning important legal aspects of their creative work.

OVERVIEW OVER REGULATIONS IN PARTICIPATING COUNTRIES The guide is meant for people without law knowledge who conduct business in the area of production and film distribution. It therefore concentrates on the practical application of the law. It describes common regulations on copyright and related rights in the legal systems of Poland, Lithuania, Latvia, Estonia, Denmark, Sweden, Norway and Germany. Differences of these jurisdictions in the discussed area are identified. The sections related to each national legislations have been formulated based on material prepared by lawyers of the respective countries. Due to the thematic scope of the guide and its purpose the contained information is presented in a simplified and demonstrative manner. Many aspects related to the protection of intellectual property rights which aren’t directly related to the discussed issues have been omitted, including special regulations referring to the intellectual property rights on computer programmes and the sui generis rights on databases. IPR GUIDE SERVES FOR ORIENTATION ONLY Therefore, the guide can serve for informative purposes only and the information contained does not constitute legal advice. This guide is only a general overview of Intellectual Property Rights and is not intended to be exhaustive. As the legal system is undergoing constant changes, the directives and legal acts concerning the copyright law should always be checked individually for each project. The IPR Guide can be downloaded from www.firstmotion.eu

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FIRST MOTION initiated networking and learning processes in our local area which brought a big leap into a new paradigm in the industry, regarding to a professional approach to the creation and the exploitation of creative universes on many platforms. Ellen Riis // Producer // Denmark


35 TOOLS 4 BUSINESS PLANNING TOOL Calculation and financial planning are critical issues in the context of media production, especially for small and/or new enterprises trying to succeed with crossand transmedia projects. FIRST MOTION developed a special tool to help with this challenging process: the Business Planning Tool. This application can be used to create, edit, export and print movie budgets. Intuitive tools allow for currency conversion, entry of net and gross prices and the definition of node types. The Business Planning Tool was integrated into the Baltic Universe platform and is one of the key essentials to be used there.


37 BASELINE RESEARCH An important aim of the FIRST MOTION project was to create a strategic frame for baseline research of the actual situation of the av-sector in the Baltic Sea Region. The close assessment of the status quo allowed the project partners to formulate both the potential and the specific needs, thereby laying out the necessary groundwork for applicable recommendations and the development of tools as defined in the project’s targets. Research was done in several areas, such as business models, value chains, cluster development and business development services. Several reports and case studies resulted from the research conducted. They will be introduced briefly in the following; the complete reports can be accessed in the Download Center on www.firstmotion.eu.

VALUE CHAINS AND BUSINESS MODELS: CURRENT SITUATION AND PROMISING CHANGES Digitisation has brought about new opportunities for media content-producers. This challenges traditional value chains in the sector and puts emphasis on the development of new business models for a digital world. Research of existing parts of the audiovisual value chain (education, networks, TV and funding) from the perspective of The North Denmark Region and the Central Denmark Region was conducted by Filmby Aarhus and The Alexandra Institute. On the one hand the report analyses the current situation in the audiovisual media sector in the Baltic States. On the other hand it comprises the latest global trends in developing innovative business models and appropriate value chains in a digital world, aiming to draw effective and specific conclusions for the creative industries of the Baltic Sea Region. The report is based on national and international literature reviews, research of educational programmes; research of media networks and clusters in the regions, research of TV channels and the independent TV production sector and research of public funding schemes and other support-schemes aimed at audiovisual production. The report explores the changes in value chains and the development of new practice related to business models, aiming at sharing experiences, experiments and practice of media companies in the regions. According to the researchers, the key issue from a business sector's point of view is not a lack of opportunity related to production and distribution in the new media

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Consumers of the future have every technical opportunity for being entertained at their disposal – and they will have free access to be spoiled for choice. High-quality content will therefore be essential for the av-industry's survival. Soren Jacobsen // Consultant // Denmark


38 climate, but how to develop sustainable business models meeting the user-driven demand for entertainment everywhere at any time. Their findings suggest that the creative industries remain creative, not only in producing new kinds of content, but also in finding ways of financing, recouping and making production profitable. The researchers found that the development of new business models is a topic well reflected, though not yet acted upon by all stakeholders of the value chain. The report describes some of the tendencies or themes emerging across sector from the interviews, related to attitude and mindset as well as to practice.

CROSS-SECTORIAL SPILLOVERS: TWO CASE STUDIES FROM DENMARK AND POLAND One task was to research new markets, alternative value chains and effective business development services. Within this framework, the Danish regional partners Filmby Aarhus and The Alexandra Institute as well as the Polish partners at the University of Lodz conducted a research of exemplary cases of cross-sectorial spillovers in their countries. The Danish research explores the opportunity space and cross-sectorial spillovers seen between the audiovisual industry and the healthcare sector in Denmark. The audiovisual industry has got competences and methods of expression which can be used advantageously outside the industry’s own business context as, for example, the healthcare sector. Visual information can help people to get rid of negative fantasies and it can help people with reading difficulties. In addition, content is easier to remember. Even so important are the interactive elements of audiovisual productions. The case studies and mapping show and develop possibilities as to where audiovisual methods have special opportunities. In general, they are defined as knowledge (edutaining), crowdsourcing, socialising, supporting, rehabilitation (exer-gaming). Among the cases evaluated are an animated patient story about hip replacement surgery and an interactive online community for young cancer patients. The Polish case studies scrutinise an oral history project of the city of Lodz, an internet based game within which the users discover the historical and modern Lodz and a mobile system serving as a comprehensive tourism guide on several media platforms. Further reports deal with the cases of Lodz and Malopolska provinces in Poland and of West Denmark on business models, value chains and business development services development potentials for films, crossmedia and interactive games in Latvia overview on the history and present trends on Latvian film creative processes and innovation management in the av-industry best practice studies on niche marketing aimed at av-industry, SMEs and other sector SMEs aiming to employ av-content as a marketing tool


39 GUIDELINES AND RECOMMENDATIONS Institutional support plays a major part for the av-industry: law and regulations, business development and distribution services, cluster development, funding schemes etc. FIRST MOTION aimed at improving the institutional support for crossand transmedia productions. Therefore, it needed the basic research and, just as important, practical experiences. The idea was to draw conclusions out of both in order to postulate guidelines and strategy papers for politics and business. This approach turned out to be too ambitious, in the end, because the reflection of the multi-layered changing processes in creative industry in Baltic Sea Region affords a bigger effort than FIRST MOTION was able to undertake. Instead of setting up guidelines the project partners decided to formulate first recommendations and open questions on three points: 1. business development services, law, funding schemes for public authorities 2. creative clusters and better cross-industry interlinkages for public authorities 3. digital distribution for av-industry’s SMEs and public bodies In the following, we present some of the recommendations that were made. Others still have been in process when this brochure went to print.

RECOMMENDATIONS ON BUSINESS DEVELOPMENT SERVICES, LAW, FUNDING SCHEMES FOR PUBLIC AUTHORITIES The convergence of media requires a completely different way of dealing with cross- and transmedia projects compared to classical media. It has to be decided on national or regional level which structure or institution is going to foster these new ways of production and distribution: traditional film funds with the knowledge of the industry in film and media or new public bodies in charge of promotion of economic development. The sixteen pilot projects within FIRST MOTION confirmed our understanding of an especially strong need of mentoring and financial support during the development of projects on the one hand and over the period of positioning and marketing on the other. Cross- and transmedia projects have a higher demand of financial and time

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Through FIRST MOTION we were able to directly support two cross-/transmedia projects and can already see a rise in interest for a new way of doing things among the industry representatives. Marge Liiske // Estonian Film Foundation // Estonia


40 investment. They mostly follow a cross-national approach, have difficulties to find the target audience and need a profound assessment of risks and economic valuation in an early stage. Part of the potential support could be a mentoring programme through a group of experts in the different fields and a system of labs invoking various skills and offering the tools to develop concepts and determine future project's cross- and transmedia potential. Within the Baltic Sea Region, the economy and culture in media is mostly stimulated through public authorities by financial support. Two main funding systems are at work now: funding decisions can be taken by a selection committee/jury or a commissioner/consultant. It has to be decided which system is most practical for cross- and transmedia projects. Expertise in many fields such as storytelling, co-production, social media, marketing, legal affairs, etc. has got to be integrated into the selection and mentoring process. New media searching for new markets require new business models and new value chains including new financing models. In contrast to traditional media which has a clear sender-audience relation and financing model, cross- and transmedia projects have to decide if they will use models of selling, subscription, free to use with extras or sales promotion. Financing can also be carried out by crowd-funding, at least partly, supplementary to more conventional methods. Crowd-funding is a method to finance new projects but even more important is the possibility to create a community, gain an insight and a relation to the future audience even before publishing the film. This early stage of relationbuilding is important but difficult to calculate and rate. In many cases, the income of crossmedia projects is created through classical channels – such as television broadcasting – while other parts of the project do generate little or no income. In the development of crossmedia projects, it is necessary to budget very carefully: which media channels (e.g. creating an internet community; implementing a social media marketing strategy) create which costs and benefits. The producers of crossmedia projects often have their expertise in one specific branch of media which makes it easy to underestimate the true costs and resources required for crossmedia projects. It appears necessary to consult the development of crossmedia productions with a team of advisors that has a true crossmedia expertise, both horizontally across different media and vertically along the value chain. In the assessment of the

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Crossmedia is opening completely new possibilities for av-industry. The most important is the interaction with viewers through digital channels (internet/mobile) which are already second most popular to television. Olgierd Cygan // Media Cluster Foundation // Poland


41 feasability and viability of crossmedia project proposals, it is necessary to look very carefully at the expertise of the team behind the project in all crossmedia aspects involved.

RECOMMENDATIONS ON CREATIVE CLUSTERS FOR PUBLIC AUTHORITIES Recommendations are given for the eight key areas that were found important while establishing a creative cluster: Identity Create a unique and shared identity Find out who makes up your cluster and how they are grouped Give your cluster a unique name Create public events Invite students and talents to arrange events in the cluster Create attention outside the cluster Have big and mentionable parties Crossmedia Add crossmedia content to the communication Create and present an inspiring and detailed crossmedia case Create provocative crossmedia eye-openers Create articles and viral videos with acknowledged crossmedia companies Invite companies to share their ideas with the cluster administration Physical Surroundings Create informal meeting places Put in glass doors Create a large lounge-area Design inviting outdoor-areas Create a mindset and routines for dropping by the lounge areas Create unique and attractive excuses for staying in the lounge areas Create original surroundings Add life and identity Make companies present themselves individually


42 Visible Manager Attend as many social and professional events as possible Show and communicate that the manager is fighting for the cause of the cluster Have weekly meetings with the companies in the cluster Be the identity and promote it Be active and visible in creating growth for the cluster Be transparent in management decisions Create an anonymous suggestion box Noticeable Administration Communicate what is happening Âťbehind the scenesÂŤ Create a lounge area nearby the administration office Show the identity of the administration office Place the administration office where people naturally walk by Be a visible initiator Initiate spontaneous happenings Mingle at social events Base events on company needs Communication Recruit a communication specialist Create an internal communication platform Get away from the typical e-mail newsletter Attach value to a proactive and provocative external communication Create a welcome pack for new cluster companies Matchmaking Let the companies get acquainted with each other Display the faces of each person located in the cluster on welcome screens Make sure to get the big companies involved in social and professional events Utilise shared interests and hobbies Frame social events for networking Create artefacts that make people mingle Get a hold on the upcoming and creative people Open up for requests regarding new cluster companies Growth Boost the ambition level in the cluster Make small companies realise that together they can join bigger projects Create a playroom for young talents Invite young, creative talents to spread knowledge


OUT LOOK


44 NAVIGATING TO FUTURE MEDIA Reflecting the development of FIRST MOTION in the last nearly five years of preparation and project time, we can consider that we realised our planning prerequisites: design the project as an open-structured space for development and innovation. At the beginning, it was already obvious that with the present speed in development and the changes in digital media some of our targets and projections would disappear during the project time and others would come up.

CROSSMEDIA PRODUCTION IN A CONTINUOUS STATE OF FLUX Maybe

one of the best examples for this approach are the changes that took place in the field of digital distribution. When we started our work, the desire was mainly to receive moving pictures via internet. Within a few years the technical demands towards a distribution internet platform have grown much higher and have become more complex. Today, collaboration and networking are strongly demanded. The production structure of cross- and transmedia is changing, too. A good example for this process is the TV-provider ARTE which has adapted itself to the on-demand market, testing new ways of producing and broadcasting content. A third aspect in this creative sector which is mostly observed for technological reasons is the impact on social exchanges and interaction. Too often, the development in social communication is not considered. FIRST MOTION was one of the earliest transnational initiatives which established a divergent approach with four main project lines: production, distribution, education and business models. We managed to cope with the challenges of digital revolution, creating solutions in many areas and also raising new questions in other fields. The development of new methods continues, movement seems to be the most constant condition for innovation.

NETWORKING AND COLLABORATION HAVE TO BE ORGANISED The FIRST MOTION team often felt like being in a similar situation as the famous Portuguese Navigation Acadamy of Sagres in the 15th century which was set up to push back the frontiers of the known world. At this far south-western corner of continental Europe, the foundations were laid for sailing into the future, exploring the world, making new contacts

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The Future of Electronic Entertainment is certainly associated with cross- and transmedia. Without them, it's like talking about computers without internet. Piotr Babieno // European Game Center // Poland


45 and building up business and trade. FIRST MOTION acting as a modular academy for navigation and networking in cross- and transmedia – a charming idea, obviously still in an early stage but certainly a good goal to strive for. Besides our results in research and practice there is one important outcome that can’t be overestimated: We’ve managed to establish a sustainable network of active and relevant institutions and persons in the Baltic Sea Region who are interested in further collaboration. We’ll certainly build up on that and go on navigating to future media.


46 FIRST MOTION PUBLICATIONS RESEARCH Audio Visual Companies: The State and Needs of Clustering (The Estonian Institute for Future Studies, Estonian Film Foundation/FIRST MOTION, September 2012) Business Models and Value Chains in Audiovisual Media. Research within the Framework of the Baltic Sea Region Programme FIRST MOTION 2007–2013 (National Film Centre Latvia/FIRST MOTION, September 2010) Crossmedia Innovations. Texts, Markets, Institutions (Indrek Ibrus/Carlos A. Scolari/FIRST MOTION, Peter Lang Verlag, ISBN 978-3-631-62228-5, November 2012) Cross-Sectorial Spillovers: Opportunity Spaces between the Audiovisual Industry and Healthcare Sectors (Filmby Aarhus/The Alexandra Institute/FIRST MOTION, June 2012) Discovering the past. Spillovers from the audiovisual/ creative sectors onto the historical tourism sector, based on analysis of projects implemented in Lodz, Poland, in the years 2010–2012 (High-Tech Accelerator, University of Lodz Foundation/ FIRST MOTION, April 2012) Report on business models, value chains and business development services in the audiovisual/creative industries: cases of the Lodz and Malopolska provinces and West Denmark (Filmby Aarhus/Alexandra Institute/High-Tech Accelerator, University of Lodz Foundation/FIRST MOTION, May/July 2011)


47 Research. »Development Potentials for Films, Crossmedia and Interactive Games in Latvia«. Research Report (National Film Centre Latvia/FIRST MOTION, August 2012) Selection of Articles on Latvian Film: History and Present Trends (National Film Centre Latvia/FIRST MOTION, August 2012) Study: Value Chains and Business Models in the Audiovisual Sector of the North and Central Denmark Regions (Filmby Aarhus/The Alexandra Institute/FIRST MOTION, September 2011)

BUSINESS TOOLS Cluster Landscapes. A handbook for establishing the right foundation for your cluster (Filmby Aarhus/The Alexandra Institute/FIRST MOTION, September 2011) Evaluation of Passion A/S (Filmby Aarhus/The Alexandra Institute/FIRST MOTION, June 2012) IPR Intellectual Property Rights Guide (Lodz City Council/FIRST MOTION, March 2012)

EDUCATION Description of the »Crossmedia Production Curriculum« (Baltic Film and Media School/FIRST MOTION, May 2011) All publications (except for the book »Crossmedia Innovations«) can be downloaded from www.firstmotion.eu


48 CONTACT Denmark Filmby Aarhus Filmbyen 23 8000 Aarhus C, Denmark +45 89 40 48 73 www.filmbyaarhus.dk

Norway University of Agder Service Box 422 4604 Kristiansand, Norway +47 38 14 10 00 www.uia.no

The Alexandra Institute Aabogade 34 8200 Aarhus N, Denmark +45 70 27 70 12 www.alexandra.dk

Poland High-Tech Accelerator, University of Lodz Foundation 21/23 Matejki St. 90 - 237 Lodz, Poland +48 42 635 49 84 www.ciat.uni.Lodz.pl

Estonia Baltic Film and Media School S端tiste tee 21 13419 Tallinn, Estonia +372 6 26 81 24 www.bfm.ee Estonian Film Foundation Uus 3 10111 Tallinn, Estonia +372 6 27 60 60 www.efsa.ee Germany Film Fund Hamburg Schleswig-Holstein Friedensallee 14 - 16 22765 Hamburg, Germany +49 49 40 39 83 70 www.ffhsh.de latvia National Film Centre of Latvia Peitavas 10/12 1050 Riga, Latvia +371 67 35 88 78 www.nfc.lv

Lodz City Council 104 Piotrkowska St. 90 - 926 Lodz, Poland +48 42 638 40 00 www.uml.Lodz.pl Sweden Boost Helsingborg Dunkers kulturhus, Kungsgatan 11 25221 Helsingborg, Sweden +46 73 231 51 98 www.boosthbg.se


IMPRINT Publisher Film Fund Hamburg Schleswig-Holstein Friedensallee 14 - 16, 22765 Hamburg // Germany Editors Christopher Cohen, Julia Grosch, Anke Küsel, Film Fund Hamburg Schleswig-Holstein Contributors Dr. Indrek Ibrus, Baltic Film and Media School // Estonia Anna Ljungmark, Boost Helsingborg//Sweden Katre Kajamäe, Marge Liiske, Estonian Film Foundation // Estonia Mette Elmgaard, Filmby Aarhus // Denmark Bernd-Günther Nahm, Film Fund Hamburg SchleswigHolstein // Germany Janusz Kornecki, Ewa Postolska, HighTech Accelerator, University of Lodz Foundation // Poland Barbara Baczynska, Monika Glowacka, Wenandjus Szuster, Lodz City Council // Poland Ilze Gailite-Holmberga, National Film Centre of Latvia // Latvia Kristian Krämer, The Alexandra Institute// Denmark Vidar Mortensen, Kristian Mosvold, University of Agder // Norway Design büro für mitteilungen // Andrea Schürings Photo credits All pictures by FIRST MOTION, except pages 3, 4, 7, 8, 12, 14, 16, 17, 18, 20, 23, 24, 27, 28, 31, 33, 34, 37, 39, 40, 44: private Published December 2012 This brochure has been produced with the assistance of the European Union (http://europa.eu). The content of this publication is the sole responsibility of the author and can in no way be taken to reflect the views of the European Union.


DENMARK ESTONIA GERMANY LATVIA NORWAY POLAND SWEDEN FIRSTMOTION.EU

FIRST MOTION final documentation 2010 - 2012  

The EU-funded project First Motion presents its results of the work from 2010 to 2012

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