About the work
Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by
building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project.
This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned.
After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years.
In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast.
Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners.
The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and principle crew (editors, cinematographers, production managers, sound designers, foley artists, etc.
Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients.
The overall mission of the "techno-tainment" process would be to:
1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time.
Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers.
In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.
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AVINA MEDIA, SL
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Title Avina Media´s techno-tainment campaign, platforms and methodology in brief
Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by
building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project.
This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned.
After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years.
In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast.
Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners.
The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and principle crew (editors, cinematographers, production managers, sound designers, foley artists, etc.
Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients.
The overall mission of the "techno-tainment" process would be to:
1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time.
Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers.
In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.
Work type TV Formats and similar
Tags comedy competition community comics community bui
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Registry info in Safe Creative
Identifier 2101316782036
Entry date Jan 31, 2021, 10:45 PM UTC
License All rights reserved
Copyright info provided by AVINA MEDIA, SL
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Copyright registered declarations
Author. Holder Avina Media, LLC. Date Jan 31, 2021.
Information available at https://www.safecreative.org/work/2101316782036-avina-media-s-techno-tainment-campaign-platforms-and-methodology-in-brief
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Registration: 2101316782036
