This year again, Les Arcs European Film Festival brings itself up to date by focusing on new media through conferences, professional meetings and debates around the new stakes of transmedia and crossmedia. To be prepared, we ask our 3 questions to an expert in the field, Caroline Maret, Head of Transmedia Contents development for the fiction at TF1.
Head of Transmedia Contents Development – Fiction Department – TF1
- Can you give us your definition of crossmedia and transmedia?
Crossmedia is a strategy which consists of delivering a same content on multiple platforms (controlling the specific potential of each of them) to reach its audience.
Transmedia is the fact of telling a story its narrative background is articulated through several platforms. Here, it is the story that is in the heart of the process: each media brings its narrative contribution to liven up a specific aspect of a global fictive experience.
- How do you use trans/cross media in your profession?
I am attached to the French Fiction Department at TF1. My role is to develop digital narrative contents alongside the French fictions of the channel. Today, it is about checking out, which program has the potential in its universe, plot, target, etc. to be developed outside the channel and to give to our audience the possibility to get involved. This type of writing participates in the creation of strong meetings on each of our screens and in the development of the experience around our programmes beyond the channel and the catch-up.
Today, the example the most representative of this cross/transmedia plan among TF1 fictions is Clem.
Clem tells the story of a 16-year old teenager who find out too late that she is pregnant and who then have no other choice than keeping her child. The pilot, broadcasted in 2010, deals with the 9 months before the delivery, the following 3 episodes, broadcasted in 2011, deals with the everyday life of Clem with her baby, supported by her family and friends and who does everything to live a normal life, continuing her studies, giving herself the right to fall in love again, despite of all the difficulties of being a mum too soon.
Our Transmedia plan was to start telling the story of Clem two months before the pilot would be broadcasted on the channel by setting up a Blog on which we posted every week a video showing a young teenager called Clem, confiding herself to the camera. First, the Blog was not linked to a programme: for the audience who watched the first videos, Clem was potentially a real teenager.
To accompany the promotion and the broadcasting of the three following episodes, we made the Blog evolved in a social network with a 10-week transmedia plan, involving 8 characters (Clem + friends + 8th character being the Internet user), one entry point for each character (via daily videos, comments, likes, surveys), and a new weekly narrative plot dedicated to the Blog. The story was built and feed simultaneously on four platforms (the channel/the Blog/MyTF1.fr/facebook).
As for the Crossmedia plan, the promotion campaign of the programme was spread on the channel, the web, via posters, on the radio and in the press. It was planed in a way it could create a bounce effect between platforms (beyond the meeting on the channel, towards MyTF1.fr, the Blog, MyTF1VOD, the book, etc.).
The programme was available on all of our screens (channel, box, web, tablet, smartphone), accompany by additional contents (bonus, making-of, deleting scenes…) with here again a bounce effect from one screen to another (from the programme broadcasted on the channel to a content only available on the internet, from the episodes in catch-up to the VOD of the pilot, from the Blog to the book, or to the complete Clem in videos, etc.)