Posts Tagged ‘Video’

Los Mineros, Part Two

Tuesday, August 31st, 2010

A serial analysis of the quest to rescue 33 miners trapped 2,300 feet underground in a copper mine outside Copiapo, Chile…

TCMG2Levels of Meaning

With the eyes of the news media fixed on one very specific location, everything about the Los Mineros narrative is tightly focused and vividly portrayed.  There’s no mystery to it, no hidden agenda (with maybe the exception of a mining company looking to avoid liability, which itself would be no surprise).  With the focus so intense right now on the mine itself and the rescue efforts, almost every element of the narrative is visible even to a distant observer like me, who might check the story every day or two on the webs to see how the miners are doing.

It is extremely clear how the narrative is conveyed on three distinct Levels of Meaning.

All communication happens on three levels:  Cosmetic (data, information, quantification, surface descriptions, neutral language), Emotional (passion, mood, empathy, attitude, ups, downs) and Meta (symbolism, context, iconography, metaphor, perspective, interpretation, the subconscious connections).

Observe, and learn from, how the Los Mineros narrative is conveyed on these three levels:

Cosmetic: Tons of information here. Plans and backup plans described in detail.  The three four-inch pipes that have become their lifeline.  The NASA psychologists who’ve arrived to help.  The number of calories they’re eating every day (2,000), and how much water they’re supposed to drink every day (5 litres).  We know about the ’super drill’ being brought in to bore through the rock.  This early in the story, there’s still a lot of cosmetic meaning to be conveyed, an abundance of factual information.  Expect that, at some point, this level of meaning will begin to lose steam, and that the tellers of the story will begin to place more emphasis on the other two levels.

Emotional: As always, this is where the most meaning resides, where the story is most potent, and touches us most profoundly.  We know that some of Los Mineros have been depressed.  We know that they have been able to communicate with their families.  They have shared their frustration.  We feel their claustrophobia.  They have begun to play roles, and these will rouse emotions, too.  Who will give the pep talks?  Who can get them to smile?  Keeping their emotions positive will be key to their mental health during their ordeal, and so, the longer the ordeal goes on, the more crucial the emotional content of the narrative will become.

Meta: The video feed is an existential lifeline.  “I video, therefore I am.”  For this reason, its very existence is a hopeful symbol.  The handsomer guys are getting more facetime on camera.  Stars of the narrative, those who can best hold our attention, will emerge as the Cosmetic flow slows.  Bringing in the NASA psychologists to deal with the miners’ prolonged isolation is a recognition of the global significance of the narrative, and it ennobles Los Mineros by equating them with astronauts, Los Astronautas, and to the heroic qualities we ascribe them.  This blog post is, itself, meta communication about the rescue effort.

Sometimes uncovering the Meta language requires digging beneath the surface, because beneath the surface is where the Meta meaning works.  For example the number of miners, 33, has deep meta significance in the predominantly Catholic country of Chile, because 33 is commonly believed to be Jesus Christ’s age when he died on the cross.  When Los Mineros finally walk into the light, the date on the calendar will not matter, they’ll be celebrating Easter in Chile.

Old Spice Gamechange

Tuesday, July 20th, 2010

OldSpiceMan1When he was working at Twelve Horses Interactive (now part of One to One Interactive) in Reno in 2007-08, Dean McBeth (@evilspinmeister) participated in some of the very first GameChangers workshops.

Dean has since joined the Wieden+Kennedy Agency in Portland, where he’s a Sr. Community Manager and digital strategist for the Old Spice brand, and one of the principal architects of the currently-raging ‘Old Spice Guy‘ social media campaign.  When Dean and I chat, as we did, by phone, this morning, the subject of improvisation in business is never far away.  It’s always gratifying to hear how the learning Dean took away from GameChangers has blossomed into marketplace performance for him and his clients, never more so than with the Old Spice online campaign.

I ask him about the genesis of the campaign.

“We already had a ‘pop media darling’ (in Old Spice Guy, played by actor Isaiah Mustafa), and we wanted to amplify the existing asset of the television commercials.  Our global interactive Creative Director, Ian Tait, said, ‘Why don’t we have Old Spice Guy reply to comments on YouTube?’  That was the idea that got us going,” McBeth says  “In terms of digital media, we didn’t want to limit ourselves to YouTube.  The question became, ‘How do we expand to every major community on the web?’”

Dean and his counterpart in W+K’s New York office, Josh Millrod, designed a strategy that involved charting all recent online comments about Old Spice, identifying anyone who mentioned Old Spice in a positive way, and ranking these people in terms of their influence.  The most influential people on the list were combined with ‘regular folks’ who, by comparison, may not have had a ton of Twitter followers or Facebook friends, but whose comments the W+K creative team found humorous or inspiring in some way.

This Influencer List, which eventually totaled “between 30 and 40 people,” according to McBeth, was combined with traditional PR channels, to create a core audience for the first wave of Old Spice Guy videos.

Then, in one shooting day, the W+K team shot personalized videos for everyone on the Influencer List, with each video written and directed as a response to the Influencers’ previous comments about Old Spice. ”We wanted to be talking to people who already had an affinity for the product,”  says McBeth.  “The messages were geared to how they’d commented.  We wanted to give them the biggest yes-and we possibly could.”

The W+K team was disciplined about addressing Old Spice Guy videos only to influencers who were already ‘having the conversation’ and avoiding those who weren’t.  “We knew that nothing could kill the campaign faster than sending a personalized video to someone like a Howard Stern who maybe hadn’t said anything previously about Old Spice.  We could’ve crashed in a hurry,” says McBeth.

At the same time, the W+K team kept an eye on influencers like Stern and Ashton Kutcher, who command big online audiences, and when these high profile players commented on the first wave of Old Spice Guy videos, they became candidates for response videos of their own that were produced in a second wave, also shot in a day.  Kutcher eventually got a video addressed to him, and it’s how Alyssa Milano got to be a player in the Old Spice game.

McBeth calls the videos “strategic smart bombs,” and describes them as “gifts” to their recipients.  Interactions with an already-existing narrative about the Old Spice brand.

Shooting 30 to 40 videos in a single day is about 30 to 40 times the typical output for a top-tier agency like Wieden+Kennedy.  The Old Spice team had to be incredibly nimble.  Scripts had to be written, approved by the client and performed as first drafts. A table full of props on the shooting set gave Mustafa and the creative team opportunities to keep the actor’s performances playful and personal.

McBeth2Wieden+Kennedy’s client for the Old Spice brand, Procter & Gamble, “couldn’t be more pleased,” according to McBeth.  “They see it as a new paradigm for brand marketing.  We should be seeing numbers soon that will show tremendous results for both awareness and sales.”  With the success of the Old Spice Guy campaign, Wieden+Kennedy’s other clients are, naturally, clamoring for viral brand mojo of their own.  One thing is certain, the ability to improvise will be key.

McBeth did not learn until after the campaign had been produced that Millrod, his co-creator in W+K’s New York office, has a hobby.  Improvisational jazz trumpet.   If there had been any question before, this new bit of information finalized the answer for McBeth:

“Improvisation is the single most important factor in the success of the Old Spice Guy campaign.”

Who Is Josh Weinstein?

Monday, June 21st, 2010

On his excellent MBAStoryteller site (yes! more MBA storytellers!) Nabil Laoudji, who’s in the Sloan MBA program at MIT, posted this 2006 video by Josh Weinstein.

Weinstein’s video demonstrates brilliantly how our perceptions shape our opinions.  That’s the obvious learning.

There are other, subtler ideas expressed in this video, too, which is why I really dig it.  It has lots of subtext:

The absence of knowledge makes perceptions more malleable. Because Weinstein is unknown to his subjects, slight adjustments in his appearance seem to cause wild fluctuations in perceptions (the edits themselves also shape perception, but I’ll comment only with subjects’ behavior here).  Anyone or any brand that seeks to limit knowledge?  This is why.  Manipulation of perceptions.  In a business environment where knowledge is so easily shared and transferred, limiting knowledge in order to manipulate perceptions is not good business.

Consistent character encourages learning. Weinstein’s character, a slightly bemused, inquisitive observer of human nature, seems consistent throughout.  As a storyteller, he uses this truth to get honest reactions from his subjects—that is, because he’s consistently in character, we can be pretty sure the subjects’ reactions are their own, and not something he has manipulated them into doing   Imagine if, instead, he’d played different characters in the interviews—aggressive, stupid, coy, flirty—we would not have been half as interested in or trusting of what his subjects had to say.  He and we would not have learned half as much.

Interrogation is not dialogue. The questions all go one way.  Weinstein does this to control the narrative and make a point.  Generally, however, dialogue is much more productive than interrogation.

This is what a lot of market research looks like. Like market research, Weinstein’s film is a series of snapshots.  It is an interrogation of the audience, not a dialogue.  Because of the way the interviews are conducted, the audience’s multi-faceted responses are nearly all flawed.  It doesn’t matter how much data you have if its facets are flawed and unrelated.  Many facets do not a diamond make. It is the interrelationship of the facets, their connection to one another, that illuminates the stone.

Admit your ignorance. Nearly everyone in the video is willing to guess about Weinstein’s identity, and in doing so they accept a ‘rule of the game’ that underscores their ignorance.  This is a fine storytelling device for Weinstein’s video, but it’s a toxic game in business.  For some managers, however, this is THE  game.  A conversation consists of them waiting for a ‘gotcha’ moment, when they can prove you wrong, ignorant, or both.  People pretending to know what they’re talking about are just as much to blame for this game as those who expose them.   Beware of games designed to show up anyone’s ignorance!  Admitting your ignorance is a first step toward learning.  Guessing, or faking knowledge, is not.  Ultimately, Weinstein’s video delivers the goods in the form of questions answered, but not before he demonstrates just how elusive the goods can be.

Stats for the Changing Game

Thursday, December 4th, 2008

You’ve Got To…

Sunday, February 24th, 2008

When an idea has been ‘over-articulated’, it can take something simple or metaphorical to bring it back to its essence. Libraries have been written about this particular idea, millions of workshops, seminars, groups and rallies have addressed it from every possible angle. Here is the essence of it, written into song in 1941 by Johnny Mercer and Harold Arlen:

You’ve got to accentuate the Positive
Eliminate the Negative
Latch on to the Affirmative
Don’t mess with Mr. In-Between
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Accentuating the Positive is how improvisers keep their scenes productive. (more…)