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Speed Up – Genius at Play

17 Mar

Now that all the beardy types have paused for breath after another SXSW and Austin’s homeless people have gone back to just being homeless again, it is worth highlighting another recent initiative which had innovation at the heart – this one a little closer to home.

A couple of weekends ago, The Urgent Genius Weekender 2 kicked off. This is not, as the name may suggest, a horrific weekend of debauchery in a Butlin’s park somewhere on the coast, but a weekend of ‘spontaneous’ but somehow ‘organised’ creativity. The Urgent Genius operation is to be admired. Set up in 2010, it is an innovative off-shoot of Iris. Tasked with tracking the ‘Power of Real Time Creativity’, it collates and collects some of the most talked about and powerful content on the internet, curating it and inviting each piece to be voted on. The Urgent Genius Weekender is an open call to all creatives to join forces (in teams) to newsjack – produce a piece of content around a newsworthy or viral subject, and get that piece of content talked about, looked at, shared, commented upon etc. The content with the most views at the end of the competition in the winner. It is a real time response to existing internet memes and it is one of the new forms of communication that uses the new weapons of the comms trade – video and social media. Participants get together, pick a newsworthy topic and, within 48 hrs, produce a piece of film which reacts to that topic, hoping to add further talking points to an already popular item and get cut-through for their own piece of content – which will usually look to provide a humourous or irrevrant interpretation of that event. Teams consist of traditional and non-traditional practitioners – social media experts, creatives, data coders and beyond. The winner has not yet been announced, but here is my favourite – a re-working of the Guardian Three Little Pigs advert (which I previously blogged about) for the purposes of The Sun newspaper – ‘Tits, pedos, football’. It’s very funny.

Newsjacking is something that will be around for some time and is on the rise. It is a very relevant and clever way for a piece of content to become talked about. Unlike most traditional PR stories or campaigns, newsjacking capitalizes on an existing ground-base of momentum and exploits this awareness to get its own content looked at. Relatively speaking, content can be cheap to produce and the results can be huge – hundreds of thousands of eyeballs across the internet. At its heart is creativity, but PR’s are well placed to add value to the cause as, in this game, media nous counts for everything. Half the job is seeding the content online, amplifying it via social media and getting the mainstream media to pick up on it – something we PR’s believe ourselves experts at. The real genius comes when content can be produced not reactively in response to events, but pro-actively. Again, one of the talents of any good PR person is to predict what the media will be talking about in advance, and how they might want to talk about it. Producing content with this in mind is probably the holy grail – but then probably wouldn’t be called news-jacking (news-cracking?).

Still, if this is to become a proper client service (in PR) one of the big challenges is to get the client’s messages built into the content. Firstly it takes a brave client to actually sign off any piece of work like this. It goes against all their natural instincts – by pressing the button they effectively sign over control of the project. The brand must be right to do this – ideally it should be young, dynamic and edgy, not a lumbering, corporate giant who would have too much at stake. Generally the latter cannot relinquish control.

One of my favourite things about Urgent Genius comes from their sizzle reel video explaining what they do. Their message to potential clients is basically this: ‘once we’ve produced the content, we’ll meet you for breakfast the next day to show it to you and you had better bring your lawyers (to sign it off)’. That is pretty much the attitude that needs to exist if this type of communication is to take off within the mainstream PR trade and I don’t see why it shouldn’t. Newspapers in print will eventually die and with nearly half of all tweets containing links to content, plus the prediction by Google recently that within 4 years 80% of all internet traffic will be video, the future has to be in creative content like this – use it or lose it.

The Second Screen Scramble

5 Feb

Today’s edition of The Observer carries an article on the race, by various broadcast and production companies, to optimize TV viewers’ engagement with prime-time shows, via portable devices – smartphones and tablets which are now considered the ‘second screens’ in the lounge.  

It is a marked turn-around for the television industry which once lived in fear of distractions from its own output. It was only a couple of years ago that TV execs were crying into their corn-flakes over the possibility of losing more viewers to other entertainment properties – gaming, social networking, even streamed music consumption.

Now all these supposed threats have become fertile playing grounds for the TV industry. As Maggie Brown writes in the article, successful UK TV shows such as The Million Pound Drop, have experienced up to 11m plays on its interactive version online since 2010, with those at home able to experience the same questions as real contestants on the show – this equates to 12.4% of the shows 2.5m viewers playing in tandem. In the US, a 2011 white paper by Neilson/Yahoo estimated that the amount of TV viewers using a portable device while watching TV, could be up to 86%. That is a lot of potential engagement for any TV show.

Broadcasters have now realised the importance of social media in spreading hype about their programmes, long before it has begun and long after it has finished. A cursory scan of Twitter or Facebook throughout the course of last autumns UK X Factor series was laden with updates and commentary about the shows stars, the judges, who was evicted and what they were wearing. It was not necessary to check the TV pages of the newspaper the next day to discover who one – the name was trending on Twitter as soon as results were announced. This traction has now been fully embraced by savvy execs – many shows on prime-time now carry an ident during the ad breaks which suggests to viewers which hashtag they should use when talking about the show via Twitter. This allows for social media commentary to be tracked more easily and hence is more valuable to broadcasters when selling space to advertisers.

So what does the future hold? And how can brands take advantage? Unsurprisingly, it again comes down to content. Producing the right content that enhances, not hinders, the TV viewing experience is key. Creating either bespoke content (unseen footage, out-takes, interviews, games etc) or retail offers around TV shows will augment watching that TV programme. Choosing the right partner to deliver it will greatly affect too. As Jim Hanas outlines in this article for Fast Company Magazine, 2012 will define who can make money out of social television apps and my favourite are Miso (a platform which allows user to create their own content around TV programmes – a ‘WordPress for TV’) and Zeebox (an electronic TV guide driven by what others are watching). Both of these harness user-generated content to enhance the viewing experience.

For the PR world, such intense engagement between the viewer and the TV show could drive massive results for TV PR campaigns and for brands associated with these shows. Imagine a correlation so close that TV viewers could actually decide the outcomes and events of a TV script, right as you watch it. By hashtagging a possible scenario, those at home could actually decide which actor should be killed off, which hero gets the girl and how a new character is introduced – the world’s first user-generated TV programme! That would be something worth tweeting about.

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