The Widening Role of the Super Producer – Kendall Allen, Media Post
Within a more greatly integrated, multi-platform environment, there is a broader field of play and a more aggressive expectation put upon the producer to produce with convergence in mind.
10 Things to Remember for Producing Cross-Platform Media – National Film Board Canada [PDF]
Jeff Gomez on Transmedia Producing – Producers Guild of America
Transmedia producers help studios and visionaries vastly widen the scope of the narrative, giving them a much larger and more thrilling canvas upon which to express themselves. You have to be able to lead them there and show them what’s possible, so that means you have to understand the nature of these media platforms and be able to talk with the artists and technicians who build for them.
Creators of Transmedia Stories™ 5: Danny Bilson – Stephen Dinehart, Narrative Design Exploratorium
Getting all of the elements to arrive in an interesting and revealing sequence seems most challenging. I’m talking about both creative and production issues over time. Everything must be carefully planned and overlapped.
Jeff Gomez’s Principles of Transmedia Narrative – Jill Gollick
See Jack Die: Chronicling a Transmedia Production – David Marlett, Digital Book World
What I’m finding are three basic types of transmedia deals: the production agreement, the co-production agreement, and the license agreement. The Transmedia Production Agreement (TPA) seems to work best with our own stable of authors, where we are producing original transmedia content and/or they are creating it, for inclusion in an original body of work to be released under our enkHouse brand (eg: there is no previously published book or other material upon which our content will be based.)
Complex Objects, Complex Rights – Peter Brantley, Shimenawa