Methodology, Skills and Professional Benefits Participants Participants' Comments MEDICI Head of Training «The 12 Labours of Hercules» Report of the Reports – Workshops 1 to 4

Reports Previous Workshops

Seventh Workshop – 27 to 29 September 2017 – Finstadjordet, Norway

Module 5 – How to integrate new technologies and players in the value chain?


Finding an audience became inseparable from the creative process.

Or, in other words,

Case study 1 / Lessons Learned – Stories from the Game Industry

Elisabet Gretarsdottir/DICE – Sweden
See Elisabet Gretarsdottir’s presentation (PDF)

Gaming industry crisis


Never let a good crisis go to waste

When the crisis becomes an opportunity

What did this technological revolution do for the game industry?

Our new business models


Questions from the audience

How do you collect data?
We gather data easily because our content is digital. We just need expertise in data-analysis methods. We follow our users’ behaviors, identities, playing frequency, game features they use; we do surveys, polls and focus groups. We know them; we listen to what they are asking for. And they ask for innovation, for something different, something that feels more human, that involves more emotions. They are tired of super-hero stereotypes. 
How do you keep your audience?
You have to look beyond the data you have in front of you. Our strategy is to capture their hearts and know how to create an excitement for them before they become aware of it. We keep things secret, nothing leaks out until the last moment – the official release. 24-hour live stream before the release creates anticipation. We make loud trailers that would appeal to the players, then you post it on social media and the whole thing explodes (example of Battlefield related to WWI). We turn a game into a global moment. And it easy to tell the players stories because we know who our players are and where they are; we talked to them.
FIFA has been released today. I did not notice because I am not a player. How do you advertise? Does everybody who plays it know that it has been released today?
We keep in contact with the fan pool. They have accounts in our system. We identify them and have their data in our base. We make the marketing strategy on the basis of that data about our users. This is for our core audience (10-12 million people). But we then spread the news further through digital marketing, paid media, trailers, etc. Also, the way we make trailers and visual material has changed dramatically. The production value is different. 
How do you regulate the copyrights in FIFA considering that many famous football players appear? 
They benefit from being in FIFA. It is a cultural phenomenon and it just contributes to their popularity. 

Case study 2 / New Technology Schemes in Chile

Nikolas Mladinic, Advisor - Creative Economics Sector / Directorate of Strategic Programs (CORFO – The National Agency for Economic Development Chile)

We believe that the so-called “new technologies” are not new at all but their application into today’s storytelling IS, especially when it comes to VR, AR and transmedia. We also believe that there’s a lot of ignorance about how to use or, better said, how to approach “new technologies” when it comes to building a project from the bottom up.

Our strategy is to support projects that would use new technologies and generate more data on audience, and more audience reports and studies. Our main challenge is that a lot of cinema theaters in Chile do not have a proper ticketing system. The only information we have is what they report in surveys but we do not actually know how many people see films or what are the demographics of people who see films. Therefore, CORFO has several schemes whose purpose is to improve the situation.

Outcomes of group discussions

Can the funds use crisis and disruption to make innovations? What can film funds learn from the gaming industry?

What data do you have regarding the cinema audience and how do you use it?

The Role of Public Film Funds in the Future

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