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El productor transmedia Tamara E. Tonetti Buono

Índice

Producers Guild of America 3

Jeff Gomez, Productor Multimedia 4

Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor transmedia? 5

El productor transmedia como guardián de la coherencia del universo NT 7

Resumiendo, ¿qué hace un productor transmedia? 8

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En Estados Unidos, una de las figuras que más activamente ha trabajado para que se reco-nozca la figura del productor transmedia es Jeff Gómez, CEO de Starlight Runner Enter-tainment miembro del Producers Guild of America (ver su ficha).

El hecho de que PGA reconociera el título de

productor transmedia y que pueda figurar,

representa el reconocimiento de una evolu-

ción en el mundo del storytelling.

La PGA dio de alta la figura bajo esta descrip-

ción:

A Transmedia Narrative project or franchise

must consist of three (or more) narrative

storylines existing within the same fictional

universe on any of the following platforms:

Film, Television, Short Film, Broadband, Pub-

lishing, Comics, Animation, Mobile, Special

Venues, DVD/Blu-ray/CD-ROM, Narrative

Commercial and Marketing rollouts, and oth-

er technologies that may or may not currently

exist. These narrative extensions are NOT the

same as repurposing material from one

platform to be cut or repurposed to different

platforms.

A Transmedia Producer credit is given to the

person(s) responsible for a significant portion

of a project s long-term planning, develop-

ment, production, and/or maintenance of

narrative continuity across multiple platforms,

and creation of original storylines for new

platforms. Transmedia producers also create

and implement interactive endeavors to unite

the audience of the property with the canoni-

cal narrative and this element should be con-

sidered as valid qualification for credit as long

as they are related directly to the narrative

presentation of a project.

Transmedia Producers may originate with a

project or be brought in at any time during

the long-term rollout of a project in order to

analyze, create or facilitate the life of that

project and may be responsible for all or only

part of the content of the project. Transmedia

Producers may also be hired by or partner

with companies or entities, which develop

El mundo de la narrativa transmedia, tal y como lo conocemos a fecha de 2014, está en sus primeros pasos aún. Debido a su temprana

edad, existe mucha controversia respecto a las figuras que integran los equipos encargados de desarrollar las tareas para llevar a ca-

bo un proyecto transmedia.

El reconocimiento de la labor y las tareas de los productores transmedia es objeto de debate entre gremios, profesionales, y comunida-

des, y podríamos hablar incluso de una cruzada.

software and other technologies and who wish to showcase these inven-

tions with compelling, immersive, multi-platform content.

To qualify for this credit, a Transmedia Producer may or may not be pub-

licly credited as part of a larger institution or company, but a titled em-

ployee of said institution must be able to confirm that the individual was

an integral part of the production team for the project.

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Producers Guild of America

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Jeff Gomez, Productor Multimedia

Nacido en 1963, criado con todo el cariño y amor que

una madre de quince años podía proveer, Jeff Gomez

crecería escuchando cuentos y relatos mitológicos por

boca de su madre, para escapar (de alguna manera) a la

cruda realidad que era Estados Unidos en 1970 y subsis-

tir en el barrio donde fue construido “Bernard Baruch

Houses” en Nueva York. Aficionado desde pequeño a

estos relatos y a los que le llegaban por parte de la cul-

tura japonesa, inició su primera conexión con el em-

brión de la narrativa transmedia gracias a “Kikaider” y

unas vacaciones en Hawai (ver el video “Dare to Chan-

ge” para más información).

He aquí una pequeña entrevista realizada a Jeff Gomez

por otra importante figura de la narrativa transmedia,

Henry Jenkins.

As the Chief Executive Officer of Starlight Runner Enter-

tainment, Jeff Gomez is a leading creator of highly suc-

cessful fictional worlds. He is an expert at cross-

platform intellectual property development and trans-

media storytelling, as well as at extending niche proper-

ties such as toys, animation or video game titles into

the global mass market. After establishing himself in

the tabletop adventure game industry, Jeff helped to

develop the super hero universe of Valiant Comics,

adapting its characters and storylines into videogames

for Acclaim Entertainment. Jeff’s first transmedia effort

was for the Wizards of the Coast trading card game

Magic: The Gathering, where he dramatized the mytho-

logy of the cards in an elaborate storyline across a se-

ries of comic book titles, web sites and videogames.

Jeff conceived and co-produced one of the most suc-

cessful transmedia storylines of the decade with

Mattel’s Hot Wheels: World Race and Hot Wheels Acce-

leracers comic books, video games, web content and

animated series for television. He has gone on to work

with such blockbuster properties as Pirates of the Carib-

bean and Fairies for The Walt Disney Company, James

Cameron’s Avatar for 20th Century Fox, and Happiness

Factory for The Coca-Cola Company.

Jeff has also spoken at M.I.T.’s Futures of Entertain-

ment conference and given his seminar, Creating Block-

buster Worlds: Developing Highly Successful Transme-

dia Franchises, to the Game Developers Conference,

New York State Bar Association, International Game

Developers Association and the Producers Guild of

America, as well as to such corporations as Disney, Fox,

Microsoft, Coca-Cola, Scholastic, Wieden+Kennedy, and

Hasbro.

VIDEO: Jeff Gomez: Dare to Change

ENTREVISTA: Henry Jenkins on Jeff Gomez (1)

ENTREVISTA: Henry Jenkins on Jeff Gomez (2)

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Una de las mejores maneras de entender cuáles son las tareas de un productor transmedia, es

escuchar a los propios profesionales, compartiendo su visión y experiencias. En 2012, Jeff Brid-

ges fue entrevistado por la cadena Shaw TV, en el programa “The Rush”, donde explicó cuál es

su trabajo como productor transmedia.

Interviewer – Before we knew you were coming on, I had hear on transmedia producer before

once or twice, but I dind’t actually know what it was, but I will leave the explanation up to you.

What you do?

J.G. – Okay. It's actually the funniest job in the world. The transmedia producer is someone who

comes into an intellectual property story world and defends and protects it as it moves across

multiple media platforms.

Interviewer – We’re talking movies, games, graphic novels, toys, I mean…

J.G. – Absolutely. Every conceivable media platform, digital and traditional.

Entre sus diferentes trabajos, habla de su labor en el universe de Men in Black.

J.G. - M.I.B. Example: "Awesome, it was just awesome. This is a situation where the studio Sony

pictures, they have this amazing universe, and they've made a few movies out of it, but what

people don't realise is that the universe is so rich and dense, and there's so many characters,

there's huge potential for videogames, comicbooks, novels... Just everything. And our job was to

kind of create this mythology which is this huge document, kind of a blueprint and guideline to

the entire M.I.B. universe."

[…] Interviewer - It's about how much you care about the story, the character, about th vialbil-

ity about what this actually is.

Y también comparte su experiencia trabajando para el desarrollo transmedia de la famosa saga

de videojuegos de Microsoft: “Halo”:

J.G. - HALO Example: Halo is so cool because you have a big smash it videogame that is super-

succesful on one media platform, but what a Halo novel would be like? What would a Halo

graphicnovel would be like? Or a movie or things like that? Weel, sometimes the storytelling on

different media platforms is very different. You wanna play with the strengths of each media

platform. So what we do is show teh game developer how cool it would be for this characters to

Haz click para ver el vídeo

Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor

transmedia?

operate in different ways and tell different kind of stories on this

platform.

[…] Interviewer - You're a storyteller and kind of a co-creator.

En lo relative a películas, también estuvo envuelto en la saga “Piratas del

Caribe”.

J.G. - Pirates of the Caribbean Example: Here you had something that was

kind of a surprise hit for the Walt Disney Company. And So as they

ramped up to the second and third movies, they needed to kind of... It

was so rich and dense this universe, almost kind of hard to understand

for the layperson. We had to go in and figure out who this Jack Sparrow

character really was and what his...

Interviewer - So you need to be kind of a psychologist...

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Al margen de los universos transmedia a los que ha ayudado a dar forma a partir de películas o video juegos, Jeff Gomez apunta que hay un trabajo mucho más allá, que implica

la inmersión de todo se equipo en el mundo de origen del future proyecto transmedia, para conocer hasta el ultimo detalle, a fin de crear toda la mitología y lo que nosotros

conocemos con el nombre de “biblia transmedia”.

J.G. - We get to work with the heads of the studios, the directors of the films, the screewritters, and we're absorbing huge amounts of information. My company it's got ten peo-

ple that is their job to absorb everything about these amazing fantasy universes, and then document them in this massive mythology documents.

Mucho más allá, los entrevistadores se cuestionan si existen otros puntos de partida para dar a luz estos universos, como puede ser una imagen de marca, un juguete, etc.

Interviewer - And this is really applicable to lots of different industries as we move forward, and as technology branches off in different directions, and the way we communicate

branches off in different directions. How important is this message to other businesses when they're participating in other mediums to tell a story?

J.G. - That’s a superb observation brands and companies all over the world need to be communicated nowadays through narratives. The age of the 30 second commercial or the

print add is kind of fading. We need to establish dialogue between our story worlds or our brands and people. Because everyone now is taking more broadcast.

Interviewer - That dialogue in that style they're developing in this area and they try to jam it onto another way of communicating.

J.G. - You can't just repeat things anymore. You have to customize your message and your narrative to the features that are the strongest on each media platform, whether it's

mobile or tablet, or the web, or social media.

Interviewer - I think costumers had grown smarter too, so this mythology becomes more and more important. I mean, when you're working with films we've discussed that,

video games... But how do you work with toys? How do you enrich that environment?

J.G. - It all falls down to the essence of the brand or the story world. My team goes in and asks thousands of questions of our clients, so that we understand what makes these

brands unique and distinct, and what story they're telling to the consumer. Once we understand that, we have kind of the bones upon which to flesh out the story. We've done

this with Coca-Cola and Happiness Factory, and all kinds of consumer brands.

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Interviewer - How can you work with Coca-Cola?

J.G. - Well, there' were this commercials, called a Factory Happines about these animated character who

were building a bottle of coca-cola. That was 30 second long, but Coke came to us and said what would the

universe be like with these characters? And how can we continue to... Because it was so popular, spread the

message of the happiness factory which is about innocence, and about deliciousness, and Coca-cola... But

also about adventure and the spirit of quests and make the world a happier place.

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El productor transmedia como guardián de la coherencia del universo NT

Como hemos podido aprender, a través de las palabra de Jeff y de los ejemplos que ha compartido con noso-

tros, una de las misiones del productor transmedia es recoger la historia matriz, estudiar todo lo relacionado

con el mundo que le da origen, y utilizar este conocimiento como la semilla para expandir un universo mu-

cho más enriquecido en el que, además, los usuarios tendrán un papel muy importante para su propagación.

Todo el saber se recopila en un documento, que conocemos como “biblia transmedia”, y al que Jeff se refie-

re como la “mitología”. Gracias a esta estructura podremos ir construyendo el nuevo universo evitando las

incoherencias.

Por ejemplo, sabremos qué le pasa a cada personaje y cuándo, y con quién se relacionaba, y seremos cons-

cientes de los vacíos en la historia que permiten un hueco suficiente para que los fans que lo deseen puedan

llenar la narración gracias a su propia imaginación. Tendremos un detalle de las localizaciones y los eventos

que se suceden.

Este conocimiento nos permite decidir cuál son los medios conductores y cuáles las plataformas de soporte,

y decidir la implementación del plan de actuación a largo plazo, proyectándonos hacia el futuro, con la tran-

quilidad de que aun con el pasar de los años, el universo seguirá manteniendo su sentido.

Ser el guardián que cohesione los medios y que consiga que la narración mantenga el espíritu y la coherencia

incluso a largo plazo, es una de las tareas vitales del productor transmedia.

VIDEO: The great Happification

VIDEO: Anuncio de Coca Cola Happiness Factory

WEB: Happiness Factory study material

WEB: Post Happiness Factory (includes art)

WEB: Psyop keeps us happy

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Resumiendo, ¿qué hace un productor transmedia?

Productor

transmedia

Vela por la inte-

gridad de la histo-

ria en las diferen-

tes plataformas

Cuida el diseño y

desarrollo de la

experiencia narra-

tiva

Planificación y

coordinación del

proyecto y el

equipo necesario

Los productores transmedia, pues, son expertos en explicar historias de manera activa, utilizando muchos medios y plataformas, para entretener, comunicar e informar a las

personas. Como creadores, conciben, escriben y transforman ideas creativas en proyectos que fluyen a través de diferentes plataformas a la vez, adaptando los productos a

cada medio. Como “directores de orquesta”, planifican, desarrollan, orquestan, garantizan y buscan financiación para el proyecto.

Ayudan al cliente

a identificar los

objetivos del pro-

yecto

Marca metas

alcanzables te-

niendo en cuenta

la cultura de con-

vergencia

Promueven la

interacción con

los fans y la au-

diencia

Cambios de plataformas

Call to action

Seguimiento crecimiento de la

comunidad de fans

Estimación del conocimiento de

la marca

Conocer su audiencia

Medir el riesgo

Prepararse para la incertidumbre

Entender la interacción con la

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El productor transmedia vela por el proyecto, porque como nos decía al final de su video: “Dare to change” (TED 2010):

“Transmedia can be used to mislead.

We can become isolated, we can become addicted, we can be lost in mundanity. The endless everyday. Trust me when I say this is possible, because I’ve experienced it myself.

Transmedia, within a few years can be read to seem to listen to you, and to offer you what you want, but really people, only human beings can give you what you need. We are

storytellers.

We have to tap our audiences into what I’m calling and you’ve been hearing references to this all day: the grand narrative. The grand narrative that forms those initial religions

that form the epic poems, and the great novels. The things that made us question who we are and go out in search of our very souls. We have to teach people to question reali-

ty. If I didn’t know during that first couple of years what love was, what nurturing was, what warmth was, I would have accepted the chaos as the norm. I would have been lost

in the endless everyday of the Baruch’s projects . Do you understand? I knew something was wrong, and I was able to dislodge myself from it, and become, well, successful in

that. I connected with a beautiful woman, and have a beautiful child, and I make a little bit of a living.

We have to teach people make those connections with other human beings, and we have to teach them to truly listen. We have to provide an architecture that allows peo-

ple to lift themselves from darkness and mundanity. That’s our jobs. I leave you with… I’m just imploring you: Keep me human. Keep me human with your work. Keep one

another human.”

ARTICULO: The perfect transmedia producer