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The transformation of film = massive creative opportunity

August 1, 2011

While many might be suggesting that social media has put an end to television creativity, nothing could be further from the truth.

The fragmented explosion of the medium  combined with users lust for content has made television a much more powerful force than it’s probably ever been.

By television, I don’t mean television as usual, but the proliferation of audio visual content across the multiple screens that we all have access to.

If you are stuck in the old world formula of the 30 or 60 sec TV spot, this is not a world for you, but if you embrace the power of film and understand what it can achieve creatively, there’s never been a better time.

This is because of the following reasons:

1. Time length has been rendered irrelevant- from 5seconds to 90 minutes- the world is your oyster to tell whatever stories you want to tell

2. Audience fragmentation now means you can develop creative for an “audience”, rather than everyone and if you are armed with smart insights from your strategists you will be able to communicate very specifically.

3. Overlay on top of these two big changes the opportunity offered by technology to bring film into an interactive space by linking content to internet and interactive experiences and you are part of the dawn of the development of radical new experiences.

This isn’t just my opinion- here’s respected designer Johnny Hardstaff of RSA in London on the same topic

“The mass audiences of old have fragmented into fluid, shifting subcultures, and while television reels from the Web’s knockout punch, commercial imperatives have ensured that advertising is quick to adapt to a deregulated environment. Once advertising shouted at the nation, but in a world of the ‘Like’ button, clients need to whisper. It is no longer a monologue but a shifting, fickle dialogue, and, as a result, clients’ messages are becoming not only more targeted but much more adventurous.

In short, my dream is coming true. Clients are learning to recognise left-field creativity and, delicately, buy into it. Where once they might have tried to shape it, they are often now becoming sponsors, remote patrons even, and thus empowering designers to say more in very different ways with far less external control and censorship. Both audiences and designers are getting what they want. Better value, better opportunities and better experiences.

While the response of agency creative departments to the rise of social media has been to send their creatives for “re-training” in social media camps, perhaps a smarter move would have been to send them to film school.

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