ÂżTe imaginas trabajar como funcionario en El Ministerio del Tiempo? Supera el examen de entrada junto a Ernesto y Salvador en el primer episodio de realidad virtual... PrĂłximamente en #GearVR
Posted by Samsung España on Monday, April 4, 2016
âEl Ministerio del Tiempoâ is a transmedia science fiction show about time travellers.Â
Fans can watch it on TV, interact on social media, listen to a podcast and now download and enjoy a 360° for Android and Apple devices. It will soon be available in VR. Â
The series follows the adventures of a patrol tasked by the Spanish government to monitor the gates of time to ensure that intruders from other eras cannot change history to their own advantage. âEl Ministerio del Tiempoâ not only entertains, but also educates with episodes packed full of historical detail.
RTS: INVESTING IN SOCIAL MEDIA TO MEET AUDIENCE EXPECTATIONS
Broadcasters may be waking up to the public service value and opportunities for creativity that social media offers, but the jury is still out on how best to integrate it into media workflows. Some companies have centralized teams working on social media strategy, while others leave it up to individual departments or production units.
Mike Mullane: How important is social media at RTS?
DL: The importance of social media at RTS is growing all the time. Today, these platforms have become broadcasting channels in their own right, where we can interact with our audiences, disseminate content suited to these media and promote our complete package.
Often, social media enables us to reach demographics who are no longer responsive to radio and television. Social media is an integral part of our public-service remit because we canât leave digital audiences out in the cold.
MM: How embedded is social media and how is it integrated into the overall content strategy?
DL: The importance that RTS attaches to social media is reflected in the participation of social media experts in the programme-design process and special projects. It ensures that the creative contribution of social media can be considered from the outset.
Members of the Management Board and managing editors are intrigued by how storytelling is taking hold on social media and are eager for new experiences in this field. Interaction with audiences contributes a great deal to our thinking on the future of our medium.
MM: At RTS, would you say that social media is ever a point of departure, or is it something that is added onto radio and TV output as an afterthought? Â
DL:Â The trend is that social media is being slotted into the process at ever earlier stages.
For example, the new version of Nouvo â whose baseline is âkeep the news flowingâ â was specially thought up for social media as regards codes, grammar and target audience. This was also the case in the production of our latest web-series, most notably BipĂšdes and Hellvetia.
Another example is the recent Exils project by Nicolae Schiau, who travelled with a group of Syrian refugees, posting updates of their journey on Twitter and Instagram.
The quintessence of these projects, in which social media take precedence, is that a specific narrative is developed for them. It is no longer appropriate simply to deploy content designed for TV or radio on these platforms; instead, bespoke concepts must be designed.
MM: How many people work on social media at RTS and what are their roles?
DL:Â RTS has a three-tier structure comprising a social media unit, a group of in-house specialists and editorial staff who write for our various accounts.
This unit works hand in hand with the seven in-house specialists, representing the main RTS departments. These specialists are responsible for informing the social media unit about projects and ideas emanating from their respective departments and for ensuring that strategy is properly implemented at their level.
Lastly, the editorial staff responsible for posting to our various accounts function in some respects as community managers representing channels and individual programmes. It is important that such publications are managed directly by editorial teams to ensure optimal consistency with radio and TV output.
MM: How do you measure the impact and success of your social media strategy?
DL:Â We use several indicators: the size of our communities as well as publication frequency, reach and â most important of all â engagement. Engagement is central to our thinking as this factor measures the real impact of our publications by compiling likes, comments, re-tweets and instances of sharing.
By gauging our audiencesâ reactions, we can refine the selection of content that we offer to them. Engagement is also a useful indicator for measuring the degree of interaction with our community.
We use the enterprise version of Hootsuite together with the Agorapulse Barometer, which monitors our performance on Facebook.
MM: Which of your projects from the past year really stand out for you?
DL:Â The âExilesâ project, developed by journalist Nicolae Schiau, was managed on social networks by the social media unit thanks to the constant dedication of our colleague Magali Philip. For almost a month, Nicolae Schiau travelled with a group of Syrian migrants, from Kilis in Turkey to the Jungle refugee camp in Calais, reporting using a smartphone, a GoPro camera and a Shure microphone.
He conveyed his experiences in a radio report and a longer video diary. However, Twitter and Instagram postings soon became the main communication channels for this project.
Altogether, 2'000 tweets were sent with the #exils hashtag during his month on the road. In addition, there was interactivity on Periscope and videos were posted on Facebook â conveying a sentiment of being constantly with the migrants and experiencing their journey at first hand.
This immersive experience has laid the foundations for a new type of storytelling that we would like to continue with other projects.
MM: What are your biggest challenges going forward? Â
DL:Â This year is a sporting year, featuring the UEFA Euro 2016 football championships and the Rio Olympic Games. With both these events, we will be testing out new tools.
Staying close to the public â especially the 18-25 age bracket, which is increasingly impervious to our radio and TV channels â is an obvious challenge.
Additionally, output on social media will be increased through the establishment of a dedicated editorial team, which will select and edit existing content for these platforms. It will create innovative content, totally different from our standard broadcasting practices.
Against this backdrop, we have to maximize community participation to streamline our offer and meet the expectations of our audience.
Data storytelling is not only for data experts: the EBU-RTS Hackathon is also about networking and learning. Expert coaches are joining journalists, social media experts, designers and developers because innovation requires multidisciplinary work. Â
Draft Programme #EBUhack
23 March
12.30-13h10: Registration & housekeeping information (including sandwich lunch)
16.00-16.30 Elevator pitches and formation of teams
16.30 Hackathon kick-off
March 24
15.00 Pitching session, followed by vote
The winning project(s) will be submitted to the Online & Mobile Steering Committee for future development
Deadline: Wednesday March 2
Are you passionate about digital storytelling, data journalism, social media, design or coding? Would you like to be inspired by some of the most talented digital storytellers around? Would you like to learn about new tools and techniques? Do you think there could be better ways to engage citizens about the #refugee crisis?
Join us in Geneva, on 23 and 24 March, to play your part in developing new approaches, techniques and tools for storytelling. The aim of our hackathon is to enable newsrooms to collaborate and share data in order to engage citizens and provide a more accurate picture of Europeâs refugee crisis.
This initiative is part of the EBUâs Big Data Week.
WORKING TOGETHER
International partners including the UNHCR will provide datasets and other raw material. The EBU-RTS Hackathon will offer the perfect opportunity for EBU Members to learn, share, network and collaborate.
We expect the hackathon to generate new and exciting ideas for digital storytelling, such as meaningful data visualizations, new approaches to data journalism, tools for the newsroom and things we havenât even thought of.
WHOâS IT FOR?
* EBU MembersÂ
* Journalists
* Producers
* Social media experts
* Designers
* Developers
* Data scientists
REGISTRATION
Register to participate - youâll find more details about the EBU-RTS Data Hack here.
What BBC R&D is calling âobject-based broadcastingâ could revolutionise the way that we consume media. The idea is that small chunks of programmes are combined with metadata to enable users to create their own personalised schedules.
Responsive Radio, hosted on the BBC Taster website, is one of the very first experiments in object-based broadcasting.
Users can decide how long they would like to listen to a radio documentary and can adjust the length accordingly. Everyone listens to the same story, but the amount of detail varies to fit the chosen length.
The project is part of the BBCâs wider effort to meet the demands of digital audiences. Â
There is no one-size-fits-all approach to storytelling and design. Journalists must always be aware of user needs and the strengths or limitations of different platforms. Â
The media companies that I know differentiate between mobile apps and the mobile web. App users are not only a loyal audience, but also have greater expectations.
That is the good news. The bad news is that all the empirical evidence suggests that the average user engages on a regular basis with just a small handful of apps.
The top five apps are responsible for 80% to 90% of all app usage.Â
One of the ways that broadcasters are trying to ensure that they stay popular with users is by offering ever more personalised services. They are providing users with access to their favourite content across multiple devices, as well as local news, weather and road conditions.
A good example is Yleâs NewsWatch app. It offers users a highly customised and personalised experience. The news is based on individual topic choices, reading history, what is trending and what Yleâs editors select as the dayâs top stories.Â
The Yle news app allows users to choose from 140,000 topics: for example, users may be interested in Cristiano Ronaldo stories, but not in football.
The idea is that users crave content that is both relevant and personal. Given that there is no shortage of competition, the fear is that if you do not offer users what they want, they will simply look elsewhere.
But not everyone agrees.
CNNâs Inga Thordar recently told a conference in London that CNN is reluctant for the time being to offer personalised services to its app users. Their argument is that too much personalisation runs contrary to their journalistic mission to make editorial choices and to introduce their audience to a wider range of stories than they might otherwise see.
The mobile web is a different beast altogether. If anything, there is even more pressure to make page design intuitive because irregular or first time users will be less patient.
Mobile has a different set of technical and design challenges, but above all, just because something works on the web does not mean that it will work on mobile. Even responsive design is not mobile optimised, as users have to download redundant data, even if it is hidden by a style sheet.
In many ways, mobile has forced the pace of UX design. Smaller screens and data capping place a greater emphasis on simplicity and speed.
âWe aim for every page on mobile to be like a home page, without overloading it,â says Inga Thordar.
Story navigation needs to be one point at a time and tables should be made manageable by filtering the data on display. The BBCâs mobile website is a good source of best practices..
Elsewhere, Buzzfeed excels at grabbing attention, as well as making news digestible and shareable on the go. This is crucial for them because at least 60 per cent of their traffic is mobile.
What they show is that a successful mobile strategy is not only about design. It is also about finding new ways to tell stories and perhaps of persuading journalists that there are different and more relevant ways to present their content.
Mobile journalism is something that Buzzfeed does very well. Although they often use mobile-friendly formats like bullet points or lists, their stories are never devoid of contextual information â even their push notifications always provide context.
Mobile editor Brianne OâBrien has a nice way of explaining Buzzfeedâs approach to storytelling: âWhatâs the most atomic unit that someone needs to know about whatâs going on in the world?â
Big data is a bit like fishing. Imagine a net, a bucket, an aquarium and a frying pan: the net is how you capture your fish; the bucket is where you store them; the aquarium and the frying pan are two things you might do with the fish afterwards.
Online we capture two kinds of data. The first is via standard analytics, while the second involves a degree of interaction.
Examples of the first kind include the amount of time spent on your website, the pages visited and where users go after they leave your site. The second kind comes from services that require users to provide personal data in order to subscribe or register. Â
Once you have caught your fish, it is crucial that your bucket does not have any holes. As well as the more obvious technical challenges of storing data efficiently, there are a lot of legal issues to contend with.
Media companies must understand and comply with both national and international data protection regulations. Most people are aware of privacy issues, but the fact that data is such a valuable asset, opens another swath of legal challenges.
Although no-one owns data about individual citizens, database rights in the European Union afford a measure of IP protection to incentivise the storage and processing of data. In general, companies have rights regarding their investment in the aggregation of data in order to provide valuable services, such as marketing intelligence, targeted advertisements or personalisation.
Of course, data is only really valuable if you exploit it in a smart way that adds value to the services you are offering. Sometimes the frying pan will be the right choice, but sometimes the aquarium is what you really need.
The huge amount of data out there is providing national broadcasters, often funded via a licence fee, with an opportunity to reinvent public service at a time when audiences have new expectations. The internet has created an environment of abundant choice, where traditional media companies are no longer the exclusive packagers and distributors of content.
Some of those that Jay Rosen calls âthe people formerly known as the audienceâ even have their own audiences, especially on social networks. Commissioning editors should be shot if they are not listening to audiences to ensure that they invest in the right programmes.
Public service means catering to the needs of citizens. Online that means using data to make content that is both relevant and personal, while respecting and protecting privacy.
Smart broadcasters are encouraging their audience to share data with them in order to tailor recommendations to individual interests, preferences and consumption patterns. They are providing users not only with access to their favourite content across multiple devices, but also local news, weather and road conditions.
Used smartly, data can help media companies to retain audiences and increase consumption. The days of shouting at audiences from the top of a hill are long gone because the web and social media have empowered audiences to the point that nowadays they are also creators, curators and critics.
It is sometimes surprising, though, how many broadcasters are still producing and delivering content in a very traditional way. Their focus is still on scheduling, rather than putting audiences in the driving seat, while the social networks are a platform for pushing messages, rather than an opportunity for listening. Â
VRTâs Creative Lab (part of VRT Digital) believes that online and social video has its own language. The team has re-purposed a disused radio studio and recycled old equipment to produce innovative short-form videos.
The Creative Lab has made this âweb shortâ, in Dutch with English subtitles, to illustrate how they think and work.Â
Peter is the Editorial lead for the BBCâs digital innovation team, the Connected Studio, that works across BBC divisions on new storytelling initiatives. He also runs the BBC Rewind programme which is making the BBC archive a much more regular and signature feature of the BBCâs digital public service storytelling.
Peter is a multi-award winning senior BBC Journalist. Previous roles include Editor of Newsnight on BBC Two; Editor, The World at One and PM on Radio Four; and Editor Newshour on the BBC World Service.
MM: Describe your job in as close as possible to 10 words.
PR: Transforming a much loved old linear public broadcaster into a much loved digital public service storyteller.
MM: How would your colleagues describe you?
PR: Highly creative, entrepreneurial and indefatigable (when being nice)
MM: What are you reading at the moment?
PR: Elizabeth Is Missing by Emma Healey
MM: What is your favourite TV and/or radio programme?
PR: Live Sport on TV and The Great British Bake Off: Â TV as a national event, bringing huge audiences together.
MM: What is your favourite smartphone or tablet app?
PR: So many. Strava: genuinely enhanced community experience for superfans. Â
MM: Which social network do you use the most?
PR: Facebook. It is where everyone else is. Â
MM: How important is social media in your life outside the office?
PR: Pretty huge. Connecting with friends.
MM: Whatâs the best idea that you ever had?
PR: I am still waiting to have it.
MM: Whatâs the biggest mistake that you ever made in your professional life?
PR: With hindsight, too many to mention; without it there are just calls, not mistakes
MM: How will people consume media 10 years from now?
âStorylandâ is an award-winning drama series commissioned for RTĂ Player. Every year, dozens of aspiring and experienced drama production teams pitch their ideas to compete for an opportunity to make original films.
âNow in its sixth season, âStorylandâ has proven to be a hugely successful commissioning platform to bring fresh creative ideas to RTĂ, and to identify emerging creative talent for the TV and film industry on the island of Ireland,â says Executive Producer David Crean.
âAcross writing, acting and directing, âStorylandâ showcases the great breadth of Irelandâs creative talent. From crime to comedy, sci-fi, and coming of age dramas, âStorylandâ brings new and wholly original dramas to engross our audiences.â
However, âStorylandâ is not only about creating high quality content for RTĂ Player. A key objective is to discover new talent for future collaboration.
RTĂ and its partner Northern Ireland Screen have commissioned five new dramas for the sixth series of âStorylandâ. The 20-minute films will be shown early next year to national and international audiences on RTĂ Player.
Swedish Radioâs has created a short-video service to reach younger audiences with the news. The aim is to deliver relevant news stories to the mobile and social platforms that have become a primary source for Swedes in their teens and early twenties.
The videos are optimised for viewing on smartphones and use visually appealing graphics. AÂ good example is âThe War in Syriaâ video - here dubbed into English - which has attracted more than 700,000 views on the P3 Nyheter Facebook page.Â
P3 Nyheter is the news service of Swedish Radioâs youth channel. It targets an audience under the age of 35.Â
An RTS comedy series brings a whole new meaning to second screen interaction. Each episode can be watched in sync on a computer and smartphone.
Biped.es is a spoof wildlife documentary that offers its audience an innovative, interactive feature. The web-based mockumentaries allow viewers to pair their smartphones with a computer to see the action from a different angle, or to have a wider picture.
For example, viewers may be watching a scene inside a bathroom. By simultaneously using a smartphone browser, they can see who is waiting on the other side of the bathroom door.Â
The comedy shorts target millennials and younger teenagers. Standard, non-interactive episodes are also available in five languages: English, French, German. Italian and Romansh. Â
Sam Taylor is a senior multimedia news journalist, channel controller and change manager with industry-leading experience of digital development, breaking news, social media and the launch of new products and services. He is currently UK 24/7 editor for BBC News, managing its UK online and digital video operation, the market-leading BBC News Channel and the BBC News at One TV bulletin.
Sam led the design and delivery of the BBCâs multimedia newsroom at New Broadcasting House, and has overseen a succession of major change projects. He has overseen much of the work to establish BBC News' presence on social media in recent years.
Samâs Twitter handle is @samtaylornews.
MM: Describe your job in as close as possible to 10 words.Â
ST: I run the BBC's News Channel, Â UK online and digital video operation
MM: How would your colleagues describe you? Â
ST: Working hard to make sense of a constantly evolving news business - while still breaking news
MM: What are you reading at the moment? Â
ST: My iPad
MM: What is your favourite TV or radio programme?Â
ST: Strictly Come Dancing - perfect Saturday night entertainment for every generation.
MM: What is your favourite smartphone or tablet app?Â
ST: Flipboard - always throws up interesting things I don't find elsewhere
MM: Which social network do you use the most?Â
ST: Facebook for friends and monitoring the competition at the same time
MM: How important is social media in your life outside the office?Â
ST: Very - I often have more time for social media when I'm not in the office!
MM: Whatâs the best idea that you ever had? Â
ST: Deciding to put live TV and online teams together in our new newsroom, before we moved in
MM: Whatâs the biggest mistake that you ever made in your professional life?Â
ST: Not pushing on rapidly enough to the next set of changes after our big building and newsroom move
MM: How will people consume media 10 years from now?Â
ST: Still in very large quantities - but with a much wider variety of approaches and devices.
What would you do if you had to flee your home? Powerful new interactive reporting from Channel 4 starts from the idea that you need to know about the choices facing asylum seekers in order to understand their predicament.
Two Billion Miles is an interactive documentary about the plight of refugees. The title comes from Channel 4âČs claim that migrants travelling to Europe to apply for asylum in 2015 have collectively travelled two billion miles.Â
Channel 4 creates an immersive experience by putting users in a game where they face the same challenges as refugees in order to reach their final destination. Each new answer generates fresh facts, including a 60-second web documentary.
If you were asked to describe a detective story you might think of an Agatha Christie novel or one of Alfred Hitchcockâs films. What they have in common is a linear narrative that guides the reader or audience along a carefully constructed path towards a denouement.
But what does a web-native detective story look like? The user experience is of course different to anything in books, broadcast media or on celluloid because every medium has its own language.
The web enables storytelling to be non-linear, allowing users to find their own way towards the conclusion, as well as interactive, dynamic and participatory.
âThe Last Hours of Laura Kâ is an immersive detective story from the BBC and provides a good example of what is possible. In order to solve the mystery, users must look for clues and find a motive for Lauraâs murder by plunging themselves into the charactersâ digital lives, including their social media updates.
Users are given 24 hours of fictional CCTV footage to help them recreate the victimâs last hours. They have access to Laura Kâs profiles on Facebook, Twitter, Instagram, LinkedIn, Spotify and Tumblr.
The fact that only a very few people have managed to solve the cryptic puzzle has helped to create and consolidate a sizeable online community. Users can follow the official Twitter account, use #LastHoursofLK, or join the Facebook group to share ideas or discuss theories.
This kind of non-linear storytelling, which is clearly influenced by gaming, can also be found in other genres.
The multi award-winning âRefugee Republicâ is an immersive web documentary that mixes sound, drawing, photographs and film to transport users to a Syrian refugee camp in northern Iraq. Users navigate around the camp with the aid of an interactive, hand-drawn map.
Users gain insight about the lives of the nearly sixty thousand refugees by seeing the places, hearing the sounds experiencing the atmosphere of Camp Domiz. As they explore users stumble across stories and find out how the refugees have transformed the camp into a bustling town, complete with schools and businesses.
User-generated content often plays an important part in digital storytelling. Belgiumâs French-language national broadcaster, RTBF, created âPhone Booth Storiesâ when the countryâs last public telephone booth was demolished in May 2015. Before the ubiquity of mobile phones made them redundant, there were eighteen thousand phone boxes in Belgium, covering the length and breadth of the country.
RTBF asked users to share their memories about things that happened in pay phones on a dedicated Facebook page and via a special dial in number. There is also a web documentary.
Digital storytellers are finding new ways to engage audiences and to provide them with original multimedia experiences. This is not only immensely exciting, but also vital for the future of legacy broadcasters who need to engage digital audiences.
Weâll be looking at the importance of digital storytelling for public service media at our first Eurovision Online Media Conference. Register to participate at the NDRC, in Dublin, on 22nd October.
Martin Jönsson is Swedish Radioâs Digital Director. Martinâs responsibilities cover digital strategy and content, online, apps, social, third party platforms and collaborations, and digital development, including CMS and API.
During his career as a journalist, Martin was Deputy Editor in Chief of Swedenâs Svenska Dagbladet newspaper. He was also Visiting Professor in Practical Journalism at Gothenburg University.
Martinâs Twitter handle is @MJSverigesRadio.
MM: Describe your job in as close as possible to 10 words.
MJ: Responsible for all things digital at Swedish Radio, except DAB/DAB+.
MM: How would your colleagues describe you?
MJ: Constantly connected, change oriented, efficient, a music nerd, a bit stubborn, impatient and a devoted opponent of bureaucracy and unnecessary meetings.
MM: What are you reading at the moment?
MJ: John Szweds terrific book on Billie Holiday - âThe Musician and the Mythâ -and Patti Smiths âM Trainâ.
MM: What is your favourite TV or radio programme?
MJ: I watch very little TV, I listen to loads of podcasts. New finds are Song Exploder and NPRâs âWait, wait, donât tell meâ.
MM: What is your favourite smartphone or tablet app?
MJ: At home: Sonos, for all kinds of listening.
MM: Which social network do you use the most?
MM: Twitter, for news coverage. Whatâs App, for keeping in touch.
MM: How important is social media in your life outside the office?
MJ: My main source of information, at all times.
MM: Whatâs the best idea that you ever had?
MJ: To ask my wife to marry me.
MM: Whatâs the biggest mistake that you ever made in your professional life?
MJ: To stay too long in a job, when I should have just risen and walked out.
MM: How will people consume media 10 years from now?
MJ: Constantly and collaboratively (if thatâs a word).
I'm a 'Her' - the film - fan and I think we will have personalised media and devices. Video is going to be everywhere, with interactivity highly developed. We will have personalised software to make our lives easier.
Miriam Hernanz, Head of RTVE Lab, on how people will consume media in 2025
