Welcome

Digital Storytellers

 

Technologies and creative services for shaping

multi-screen and real-world

interactive narrative engagement

 

Storytellers

 Converging Digital Divides

 Content Shaping across multiple screens.

Pivot v. Moving Forward

Buzzwords are a double-edged sword.  They demonstrate that the discussion is relevant with some immediacy.  Yet, the buzzwords are often barely defined phrases that have little more than superficial understandings attached to them.

I’m referring to the word “pivot,” in the tech start-up or tech start-up again, then again, world.

It implies that a company is changing course.  It is abandoning it’s original goal and setting it’s sight elsewhere.

As zyntroPICS just launched a new unit, baubleApp.com, we were asked if we were ‘pivoting’ the company?

The answer is a resounding “no.”

We are simply moving forward and adding additional resources to keep moving forward.

But, sometimes, moving forward also accepts that we are moving into an unknown territory.  The World changes.  We don’t “pivot,” we venture into that new territory…but, our underlying goal remains the same.

zyntroPICS can be defined as a company, really, a handful of people, who hang out at the intersection of media and emerging technology, where we produce and tell stories.

Sometimes that means working with beta-level interactive video tools.

Sometimes that means figuring out how to manufacture products with NFC chips in them that lead to mobile applications.

It’s not a pivot.

It’s just another step forward.

It means no two days are ever alike.  It means we have to keep learning new things.  It keeps it all very interesting.

Announcing baubleApp.com – A zyntroPICS imprint

Now is soft-launch, the new imprint from zyntroPICS inc, baubleApp.com, has launched.

baubleApp-logo_800x600

Y’ay!

So, what the heck is a baubleApp?

It’s part bauble (fun, real-world object), loaded up with an NFC tag, that hitches to a mobile companion app (apps produced by contentAI studios, a unit of zyntroPICS).

It’s a wonderful method for extending a story from a real world object to a mobile screen.

Please stop by baubleApp.com and have a look and a listen!

 

 

NFC Jewelry + Mobile Apps = Cross-Platform Storytelling

Typically, when we refer to x-platform storytelling, we’re thinking about a story that spans multiple screens.

But, we’re venturing into a slightly different space to extend the definition of “x-platform” (cross-platform) – With a line of NFC jewelry for children (based on a character; and designed to be integrated within real-world “play”) with an NFC (near field communication) tag, that leads to a speech-based daily mobile app.

Our children’s apps (produced through our contentAI studios unit) do exceptionally well – with some months resulting in tens of thousands of Users.  But, we want don’t want kids to live solely with their eyes glued to digital screens – So, we have designed the first iterations of a line of jewelry that includes NFC.

How the heck are iPhone User’s going to access the app?

Well, unfortunately, iPhone Users can’t get that “magical” tap experience that NFC offers, but, they can save a URL as a “favorite” and access the app – But, the UI/UX with NFC is what we think adds real value to the user engagement – especially, with the youngest of early-adopters – Kids.

The idea of intuitively linking objects to mobile applications via NFC is an area we are deeply focused.  People still really like “things,” stuff they can look at and touch – extending the story from an object to a mobile app is an obvious next step for us.  Plus, we’ve gotten a whole new range of experiences in manufacturing and production of “things,” which has been a nice evolution.

Links and updates will be posted soon.

Interactive Video…Popcorn, Flash, whatever…

As we’re enmeshed in focusing some of the last year’s work with popcorn.js into services for clients as well as rounding out and releasing our proprietary work, part of the long-term value of working with Mozilla’s Popcorn suite of tools (Butter, popcorn.js, Popcornmaker, etc.) is that it is HTML.5 based – for both audio and video.

That said, the platform has shown limitations in terms of it’s “mobile friendliness,” but those are known issues as it is restricted to only working with certain Browsers (primarily desktop versions).  But, it is constantly improving.

It was a bit surprising  last week to see a newly launched interactive video platform from General Mills  - build entirely in Flash.   It’s interface and UX are seamless – PLUS, the focus is on the content itself, not the buttons or design —  goes to the heart of “why” an End User would like to play with an interactive video authoring experience – Because the media assets rock.

Capture

It’s an impressive effort.

It’s over here, under Buzz’s Movie Maker from Honeynut Cheerios:  http://honeydefender.com/MovieMaker/

Also, featured on GOOGLE’S Home Page, is a release of an HTML.5 interactive video authoring tool:  https://www.peanutgalleryfilms.com/  (must access via CHROME).

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It is using a speech-to-text engine to create text based interstitials in a silent movie.  That’s an extremely clever approach, especially in the HTML.5 universe, since it doesn’t require transcoding audio to HTML.5 formats, but, uses Google’s existing speech-to-text engine and then generates a text-based output.  It was great to see something entirely different in this space, and this qualifies.

Noting, Google’s efforts also rely heavily on a great selection of underlying media assets that are perfectly suited to the interactive format  That complementary fit is what makes it all work.

Now, Buzz’s Movie Maker doesn’t really allow someone to do much more than sequence media clips and choose an audio file.  Interstitial graphics can be dropped in; it’s hard to even know whether it’s nonsense based or there’s a method to create a cohesive story?  But, you know what?   It’s kind of fun to play with.  While the UI is simple, what makes it work is that (it seems) 80% of the effort was directed at the content and media assets Users can manipulate.  Creating text-based interstitials via “voice” is certainly an enhanced feature that Google have integrated, allowing Users more personalization of the experience.

The question we had posed to us was, “which is better, Flash or Popcorn?”

Well, there’s no right answer at this point in time.  Both have limitations when it comes to mobile and (some) tablets.  Both have other upsides and downsides.  Certainly, Flash is easier to manipulate with regard to how traditional Designers think.  But, for the long term?  That’s where we’re putting our efforts into development with Popcorn’s suite of tools.

It’s been awhile since we’ve seen a pure Flash-based interactive video tool – In some ways, it was nice to know that somewhere, someone, is still approving Flash development to progress interactive video…there are still things to be learned from those development cycles as we all work on how to make interactive video about story-making, not just about clicking buttons.

Interactive Video – Again…

zyntroPICS was recently engaged to produce a significant interactive video project for a major U.S. network.

While most of the company’s focus has been on conversational mobile apps; with a keen eye toward applying that technology to 2nd Screen apps (extending television story and character into interactive engagement), for some unknown reason, about every five years, we get deeply entrenched in interactive video technologies directly.

How long as this been going on?

Since laser discs.

Really.

We’ve been around awhile.

The first foray into interactive video was to device creative techniques to expand one of the first live-action video game platforms to incorporate concurrent, multiple on-screen “threats.”  The original platform could only present a single “threat” at a time.  As the platform was being applied to training simulations, it needed to evolve.   This was both technically and creatively challenging.  We did it.

Other interactive video projects have included  a range of experience with full motion 360-degree video (Where the most fascinating projects were were we started to include 3D animated characters and sound design); as well as branching storylines from multiple camera angles, all back when delivery of just a single video stream was a challenge.

Now?

Well, keep an eye out here for updates as we can make public disclosures and show screenshots and Links.

How we also tie this type of development work into our own conversational apps is also on the near-horizon.

Happy 2013 – The Year of 2nd Screen and IoT

contentAI studios and zyntroPICS Inc. wish everyone a wonderful 2013.

From our side, the focus of our ventures have narrow-focused to extending storied content experiences to 2nd Screens and the “internet of things.” (“IoT”)

Initially, we will be extending our own children’s app properties, which have done exceptionally well on mobile, to IoT products. Call them interactive toys, jewelry or companion products, we believe that especially children’s engagement is greatly enhanced when there are real-world objects included with the mobile/digital experience. This can allow for an individual’s imagination to take the object and make it part of their play and their own stories.

We’ll be announcing partnerships with some fascinating technology partners in the coming months. We’ll also be more active on the conference circuit as Exhibitors.

We hope it’s a terrific 2013 for All.

Children’s Television and 2nd Screen Apps – The Possibilities…

We were looking at our conversational analytics and focusing on the (literally) thousands of chat/engagements that our children’s apps receive each month.

As we’ve added a couple of new children’s themed apps, the numbers keep increasing. But, more importantly, the engagement stats are showing longer and longer engagements per session. The quality of those engagements is also increasing (we select random anonymous chats to review the actual “quality”).

What seems obvious to us is that this is a real opportunity for 2nd screen engagement stemming from children’s content on television. Many older children have tablets and smartphones next to them on the couch (or the ability to borrow mom or dads). The ability to chat with a television character to have a personal, one-to-one engagement?

We think it’s priceless.

We also believe that children are the best early-adopters. They quickly suspend disbelief and enjoy the experience of chatting with a virtualized version of a character. Let’s face it, the first screen version is a fictional character – therefore, it’s not that much of a leap to engage on the 2nd screen.

Extending Story and Characters to the 2nd Screen

We’ve been spending a fair bit of time focused on the emerging 2nd-Screen app space – That space where the first screen (television) extends to some device the audience has in their hand or lap. Much of this market is focused on two things: How to synchronize the 2nd screen (ACR technology) and secondly, “social.”

 

We, through our contentAI studios platform,  focus on extending the story and characters (including characters in ad units) to the 2nd Screen.

The contentAI platform is an “interactive narrative” engine. That means: The audience can engage in a personalized, one to one, text chat with the on-screen character – Just as they “chat” with their friends and family via “social” apps.

It’s a niche. We think it will be extremely satisfying, both for the audience and for the storytellers, who can explore twists and turns through communicating the story in a different format. While we’re having some early conversations with Networks and Producers –

We’d welcome an opportunity to explore 2nd Screen applications with more writers and producers directly. We see 2013 as the “Year of the 2nd Screen” where more creative use of the medium will come front and center, as the “technology” elements move to the background.  We’re also developing our own 1st screen content that is designed from the ground-up to incorporate 2nd Screen story and engagement.  We’re looking forward to another busy year.

Thinking “2nd Screen” First

We’re spending a fair bit of time over at our contentAI studios venture discussing and exploring technologies to better “extend” story and character from television screens over to so-called 2nd-screen apps (with a preference for mobile web over native; but that’s another story).

While there is a great uptake in interest to develop 2nd Screen apps  – And, the ability to allow the audience to directly “chat” with characters is remarkable – Ultimately, as storytellers, the fly in the ointment is that these are conceived of as “after thoughts,” they are not inherent to the series, the characters or the story arcs.  Doable?  Sure.

But…

Getting back to our roots, we see the need to be developing television content that anticipates concurrent 2nd screen use…First.

Not as a gimmick.  Not as “complementary.”   But, as a tool within the storytelling itself, where the audience only understands the entirety of the first screen through their participation in the second screen.

Risky?

We don’t think so.

What are we working on?

Something special.

contentAI studios – An Interactive Scene Engine

Introducing our contentAI studios platform to an ad agency executive over the weekend, we spent a fair bit of time “defining” the applications that are built as “interactive scenes.”

Interestingly, that phrase is not one we’d used before, but, it helped (let’s call him “Bob”) Bob quickly understand the contentAI platform in relation to his other work.

We often talk about “motivated characters” or “virtual characters,” but, what we really do is create “scenes” that both the virtual character and the End User play-out.

So, are we really a “scene engine?”

Yes, in part.

But, we’re still a “virtual character” engine as well.

There are both simple and complex avenues to apply our platform. We think of “character only” as being akin to chatbots who access a database of deep information via Natural Language Processing.

But, our interactive scenes are 3-dimensional, including depth (same as “character” – deep data and knowledge), coupled with width (alternative paths) and length (all “scenes” have a beginning, middle and end)

I suspect we’ll start using “interactive scene engine” in some of our description phrasing more frequently. It seems easier to grasp than “motivated characters.”