FIRSTMOTI

ONHOW TO TELL & SELL A STORY IN A DIGITAL WORLD?FIRST MOTION: 2010 – 2012 RESEARCH, PRACTICE & LEARNING

Part-financed by the European Union(European Regional Development Fund)

BALTIC SEA REGION PROGRAMME AREA 2007 – 2013

Russian Federation

Finland

Denmark

Baltic Sea

Belarus

Lithuania

FIRST MOTION countries

Sweden

Norway

Germany

Latvia

Estonia

Poland

01CONTENT

Editorial .................................................................................... 02

INTRODUCTION: FIRST MOTIONProgramme and Objectives............................................................... 06

Project Partners........................................................................... 07

The Baltic Sea Region.................................................................... 10

PROJECT IN DEPTHAv-industries: Initial Situation........................................................ 12

Set Targets ................................................................................. 13

Taking Stock: Status Quo in 2012 ....................................................... 14

Innovation, Creativity, Communication................................................ 16

Advisory Board............................................................................. 17

»Cultural Diversity is Necessary« ...................................................... 18

OUTPUT IN DETAILResearch and Development .............................................................. 20

First Call Projects ..................................................................... 21

Second Call Projects.................................................................. 23

Baltic Universe............................................................................. 26

Education and Training .................................................................. 28

Tools......................................................................................... 31

Baseline Research......................................................................... 37

Guidelines and Recommendations..................................................... 39

OUTLOOKNavigating to Future Media ............................................................ 44

First Motion Publications............................................................... 46

Contact and Further Information ..................................................... 48

Imprint .................................................................................... 49

02EDITORIAL DEAR READER,when we started with FIRST MOTION in2009, we were certain to be working on anup coming field: cross- and transmedia as a complement to classical media in theav-business. And we defined ambitioustar gets for the project. After three years of creative process,ex citing practice and thorough re search,we have approved of being on the rightway. Surely, since we moved on and sol -ved many challen ges, new questions havearisen, waiting to be dealt with.The chan -ges in media business and in av-indus-try, in particular, are going on as fastas ever.

032009: OUR POINT OF DEPARTURE Film funding in Europe has existed since the 1950s.

In the last twenty years, public served film funding has been built up in most states

in the Baltic Sea Region. Institutional film funding aims at supporting film culture

and film industry in special regions or nationwide by means of financial support,

credits, consulting, festival prices and helping to gain international recognition

for films produced. Complementary to its supporting effect, film funding functions as

a steering and controlling tool – so it consequently has to readjust the own policy

regularly in order to synchronize to the swift development on the market.

One of the driving engines behind the big changes in film industry over the last

years was the digitisation in production and distribution. This was especially diffi -

cult to cope with by small production companies who weren’t able to research and

develop new advanced ways of producing and distributing their products while try-

ing to survive in business. They were fighting more and more on closed markets in

TV and cinema and suffered the dependency and uneconomical structure of this kind

of monopolistic market.

The legislative framework in the Baltic Sea Region is specified by national laws and

differs throughout the countries, even though the EU is on the way to harmonize

in ternational law. The business activities are strongly influenced by national pro-

cedures of funding and some additional EU structure fonds.

The academic level and training in the av-industry varies from country to country

and is mostly nationally determined, often not allowing easy access to other markets.

2012: WHAT WE HAVE DONE FIRST MOTION tried to support the paradigm shift in the

media industry evoked by the digital development and thereby focused on four cru-

cial points: production, distribution, education and business models. One way for

the small production companies in the Baltic Sea Region to overcome their fragile

situation is to co-produce with partners in the same or other regions, to explore

new markets, to develop new business models and to gain knowledge of the legal

situation of the current region.

FIRST MOTION initiated practical experience for film and media production being

transferred from traditional formats to cross- and transmedia by activating new re -

sources. Sixteen pilot productions were realized, supported by FIRST MOTION in

research and development, testing new production and business models. Strategies

to explore new markets via cross- and transmedia production were introduced.

»FIRST MOTION has not only improved the understand-ing, the transnational approach and the institutionalsupport for crossmedia cooperation but also intensifiedour possibilities of communication in the Baltic SeaRegion and furthermore.Dr. Eberhard Schmidt-Elsaeßer//State Secretary of the Ministry of

Justice, Cultural and European Affairs Schleswig-Holstein//Germany

04A MA programme and a BA programme »Crossmedia Production« were created and

established. A handbook on building up cluster landscapes was published. Com-

piling re search on the legal structure in countries of the Baltic Sea Region was

done. The online-platform Baltic Universe for collaboration and distribution was

launched.

These are only some of the FIRST MOTION outputs. Read more about them and all the

other aspects of our work on the following pages. We hope, you’ll find it as inter-

esting to read as it was for us to work on. We’re certain that the process of digi-

tisation in av-industry is going on producing further chances in the Baltic Sea

Region. And we, the project partners, will keep involved.

Baltic Film and Media School//Estonia

Boost Helsingborg//Sweden

Estonian Film Foundation//Estonia

Film Fund Hamburg Schleswig-Holstein//Germany

Filmby Aarhus//Denmark

High-Tech Accelerator, University of Lodz Foundation//Poland

Lodz City Council//Poland

National Film Centre of Latvia//Latvia

The Alexandra Institute//Denmark

University of Agder//Norway

December 2012

»I believe crossmedia and transmedia of thesort promoted by FIRST MOTION have a bright fu tu rein the Baltic Sea Region, where creative industrieswill offer a major part of future jobs. I find the»Baltic Universe« online platform for distributionof av-products especially interesting.Jan Lundin//Council of the Baltic Sea States//Sweden

INTRODUCTIONFIRST MOTION

06PROGRAMME AND OBJECTIVESThe EU-funded new media project FIRST MOTION, an association of ten partner insti-

tutions in seven countries of the Baltic Sea Region (BSR) under the auspices of the

Film Fund Hamburg Schleswig-Holstein, sees itself as a pioneer and innovator of

sustainable business models at the intersection of audiovisual creative industries

and regional development.

The project’s aim was to fund new formats and ideas, to research new markets, value-

chains and business models, to develop a new distribu tion platform for the Baltic

Sea Region, to install training and educa tion courses and to improve clusters and

policy guidelines. The goal was to improve the business environment susceptible

for innovation and to overcome the weakness of insufficient use of innovative po -

tential and low intensity of joint efforts in the BSR.

POTENTIAL OF CHANGES THROUGH DIGITISATION Over the years, digitisation has

brought massive changes, which have the potential to stimulate economic growth

and the creation of new high-skilled jobs in the audiovisual sector. The audiovi-

sual industry in the BSR consists mainly of small and medium sized enterprises

(SMEs) with limited capacities for innovation by own resources. FIRST MOTION looked

at the topic from different an gles and connected them to an unified approach,

thereby fostering innovation.

SEEKING SOLUTIONS OF HIGH PRACTICAL RELEVANCE FIRST MOTION combined the four

relevant domains »Industry Capacity Building/Market Development«, »Institution-

al Capacity Building/Policy Development«, »Cluster/Regional Development« and

»Education and Training« into one holistic project in order to start effective devel-

opments in the concerned areas. The four research and development areas formed

the four work packages structuring the project partners’ fields of activity. FIRST

MOTION employed a Triple-Helix approach (university, industry and government) to

ensure solutions of high practical relevance and their implementation. The close

bond of the industry to all work packages ensured hands-on solutions to relevant

problems and their efficient dissemination.

Education and Training

Industry Capacity Building Market Development

FIRST MOTION 2010 – 2012: THE FOUR AREAS OF WORK

ClusterRegional Development

Institutional Capacity Building Policy Development

PROJECT PARTNERSFIRST MOTION was formed by ten partners from seven countries. They can be divided

into three basic areas: film funds, universities and national or regional develop-

ers or municipalities, all with a different profile, area of expertise and aim.

DENMARK Filmby Aarhus (FA) is the regional film center of West Denmark including a

business park for av-businesses, The West Danish Film Fund, a talent incubator, two

professional film studios and the host role of international projects. Filmby Aarhus’

interest in FIRST MOTION was to gather new knowledge on crossmedia production and

distribution and make this available and operational for a larger circle of entre-

preneurs and SMEs. Also the film center wished to develop and exchange insights on

cluster management and business development. www.filmbyaarhus.dk

The Alexandra Institute (AI) builds bridges between research, business community,

public institutions and citizens. AI develops IT based products and services that

create social value and contribute to financial growth by means of research-based

innovation. In FIRST MOTION AI contributed with different competences such as busi-

ness understanding that focuses on its knowledge about innovation management,

commercial modelling and effective measurement. www.alexandra.dk

ESTONIA The Tallinn University Baltic Film and Media School (BFM) is the only univer -

sity in Northern Europe teaching programmes in television, cinema, media and com-

munication in English. A variety of curricular options lead to careers or graduate

studies in film and television production, broadcast journalism, new media, adver-

tising and public relations. In FIRST MOTION the BFM was responsible for »education

and training«. It developed and established a new Master and a new Bachelor pro-

gramme for crossmedia production and implemented laboratories and a summer

school for young professionals. www.bfm.ee

The Estonian Film Foundation (EFF) is the main financer of the national film produc-

tion. It has the necessary knowledge for launching new ideas and serving as link

between Estonian filmmakers, distributors and other players in the audiovisual

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»I believe, the av-industry faces a greatchallenge in joining the frontier of transmedialand crossmedial storytelling expression. Are wereally needed here? What abilities do we possessthat can push this means of expression forward?Janic Heen//Producer//Norway

08field. In FIRST MOTION it acted as locally responsible coordinator of the project,

interlinking all players, disseminating information about the project and assuring

its visibility in Estonia. www.efsa.ee

GERMANY The Film Fund Hamburg Schleswig-Holstein (FFHSH) is a service provider,

facilitator and financer for the regional av-industry. As Lead Partner of FIRST

MOTION, FFHSH was responsible for the general, the financial and the information

management inclusive the Berlinale receptions. FFHSH coordinated the pilot produc-

tions, called for tenders and provided guidance and support. Besides, FFHSH con-

centrated on gaining knowledge in important future markets for its clients and in

developing appropriate new policies and structures. www.ffhsh.de

LATVIA The National Film Centre of Latvia (NFC) is a state institution under the

Mi nistry of Culture. It administrates the Government’s financial support to Latvian

films, prepares legal acts and Governmental documents, preserves the national av-

heritage, promotes Latvian films abroad, cooperates with international and nation-

al organisations, issues video distribution licences in Latvia and forms a data-base

of Latvian films and filmmakers. In FIRST MOTION, NFC was strongly involved in ani-

mation, in the Baltic Universe platform and in cluster building. www.nfc.lv

NORWAY The University of Agder (UiA) aims for contributing significantly to the

development of the region, with study programmes and research relevant to business

and commercial development. Within FIRST MOTION, UiA brought in its competence

from its media and economic faculties with a focus on commercial aspects of the

distribution of av-products. It was mainly responsible for the development of the

Baltic Universe platform. www.uia.no

POLAND The High Tech Accelerator, University of Lodz Foundation (HTA) is a business

entity connecting science and market in innovative areas like av. The main interest

of HTA in FIRST MOTION was to share knowledge and experience of existing value

chains and business cooperations, while gathering new insights in media cluster

management and business development services. www.ciat.uni.Lodz.pl

»The role of crossmedia, transmedia and inter-active media for av-industry will become more rele-vant from spheres of entertainment to educationand learning, to usage in various sectors – such astourism, medicine, etc. Ilze Gailite-Holmberga//National Film Centre of Latvia//Latvia

09As local authority Lodz City Council (LCC) promotes the economic and cultural devel-

opment of Lodz with special emphasis on the creative sector.A regional development

for the av-industry approach must be transnational. FIRST MOTION provided the LCC

with this approach and enabled it to provide improvements of impact. In return, the

LCC contributed Intellectual Property Rights research and Information and Commu-

nication Technology tool development tailored for European needs, facilitating film

productions. www.uml.Lodz.pl

SWEDEN Boost Helsingborg (BHbg) is an initiative based in Helsingborg that nur-

tures exceptional emerging talents within the moving image industry in Skåne. A

pioneering programme that aims to develop new storytelling techniques in close

cooperation with the various branches, industry professionals and rising trends.

FIRST MOTION enabled BHbg to broaden its work into an international pan-Baltic

structure, providing the project with already gathered experiences and benefiting

through the transnationality of the project activities. www.boosthbg.se

Navigating to future media: partnermeeting 2012 in Helsingborg, Sweden

10THE BALTIC SEA REGION Initiated by the European Parliament in 2009 and coordinated by the European

Commission, the EU Strategy for the Baltic Sea Region strives for more intensive

cooperation between the Baltic countries and shapes the region into a cooperation

model for the whole EU. The strategy aims to save the sea, connect the region and

increase prosperity. The implementation of the strategy is financed from different

EU funds in the area including the Baltic Sea Region Programme.

THE BALTIC SEA REGION PROGRAMME The overarching strategic objective of the Bal -

tic Sea Region Programme is to strengthen the development towards a sustainable,

competitive and territorially integrated Baltic Sea Region by connecting po ten tials

across the borders. As part of Europe, the Baltic Sea Region is expected to become

a better place for its citizens to invest, work and live. The programme thus ad dress -

es the European Union’s Lisbon and Gothenburg strategies in order to boost knowl-

edge based socio-economic competitiveness of the Baltic Sea Region and its further

territorial cohesion.

PRIORITIES AND TARGETS Between 2007 and 2013 the programme co-finances projects in fields of:

Priority 1: Fostering innovations

Priority 2: Internal and external accessibility

Priority 3: Baltic Sea as a common resource

Priority 4: Attractive and competitive cities and regions

Among the expected practical outcomes of the priorities are:

Feasibility studies

New business opportunities

Investment proposals and direct investment strategies

Action plans

Policy approaches

Good practice solutions

Expected common results of the supported projects are an increased political re -

cognition of project results, greater sustainability of transnational cooperative

networks and unlocked public/private investments. FIRST MOTION is one of 26 pro-

grammes of the first field of priority: fostering innovations.

PROJECTIN DEPTH

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»The project gave students a chance topresent a different way of thinking about theproblem of crossmedia and to find the methodsto connect different types of media. It expandsthe imagination and gives a new perspective in thinking about the future of av-sector.Andrzej Bednarek//Polish National Film School//Poland

AV-INDUSTRIES: INITIAL SITUATIONThe audiovisual (av) media generally encompasses all means of communication that

tend to the visual and/or auditory senses. The economic sector of the av-industries

includes businesses such as television, film and radio industry,production companies,

interactive media and computer games industries, or photo imaging companies.

Digitisation has brought changes which have the potential to stimulate economic

growth and the creation of new high-skilled jobs in the au diovisual sector. Though

widely recognized, this potential has not yet been utilised. Generally, av-industries

are characterized by fragmented and small domestic markets, low equity, creative but

less-business attitude of producers, critical legal situation (Intellectual Property

Rights and Digital Rights Management), high pressure and massive changes.

CREATIVE INDUSTRIES POTENTIAL: OVER-PROPORTIONAL RATE As part of the creative

industries in general, the audiovisual sector is one of the propelling forces towards

the Lisbon agenda as the 2006 report »Economy of Culture in Europe« by the EU-Com-

mission duly noted. Its growth and job-creating ability are over-proportional com-

pa red to other industries. According to this study, in 2003 more than 5 million people

were working in the creative sector in Europe, generating 2,6 % of the gross domes-

tic product (GDP), making it to one of the biggest economic sectors.

Research proves the importance of creative industries. The economist Richard Flori-

da postulated three »t« needed for a strong urban development: talent, technology

and tolerance. He showed the spill over and indirect returns created by the creative

class, enhancing regional attractiveness and improving the social climate.

The audiovisual industry includes competences and methods of expression which can

be used advantageously outside the industry’s own business context and thereby

contribute to a favourable economic and creative regional development.

SECTOR DEVELOPMENT: CALL FOR JOINT EFFORT Before FIRST MOTION was initiated, the

innovation potential of audiovisual industries in the Baltic Sea Region was used in -

sufficiently, and the intensity of joint efforts in this sector was rather low. FIRST

MOTION set out for a combined approach of jointly developed strategies for produc-

tion, distribution, funding, regional development and new curricula.

13SET TARGETS In order to exploit the potential of the av-sector in the Baltic Sea Region, the FIRST

MOTION project partners defined the targets and their strategic approach. The goal

was to provide optimal conditions to the three pillars of the project – industry and

business, state and government, teaching and training for the development of small

and medium enterprises in the Baltic Sea Region.

FIRST MOTION wanted to reach a new understanding of the creative sector and how it

is linked to information and communication technologies, knowledge transfer, edu-

cation and economic growth among all players. The project partners saw the need

to explore new approaches to production, distribution and funding schemes (prod-

uct, process, and funding innovation), and to adjust the economic development

framework (educational system, business development services, cluster structures)

of the Baltic Sea Region.

DESIRED SITUATION AFTER PROJECT COMPLETION Four targets predefined what the

project partners wanted to have achieved after three years:

1. An innovative, self-sustained market and communication platform (Baltic Uni-

verse) is established and running, where all members of families or any kind

of social and artistic groups, scientific and business communities can share a

common interest with diverse perspectives, different motives and intellectual

property.

2. Improved institutional support through better understanding and a new percep-

tion of the creative sector as high skill growth sector and knowledge of its po -

ten tial impact on regional economic development; focusing on innovation, based

on pilots (new business models), strategy papers and guidelines for institution-

al support (Business Development Services) of creative industries.

3. Established Baltic Sea Region av-industry cluster through regional incubators in

the partner countries, based on regional av-industry clusters working along the

value chain (creating, producing, packaging, marketing, distribution) and cross-

sector cooperations (e. g. tourism, education, culture) – the latter starting to

benefit by using new digital av-methods for their business purposes.

4. An international master curriculum for the offspring of the convergent av-me dia

industries is developed. Professional training schemes for crossmedia production

are available (e-learning/Business Development Services/educa tion). Lifelong

learning and innovation will be stimulated with the annual summer academy (liv-

ing LABs) for practitioners, civil servants, academics and students.

TAKING STOCK: STATUS QUO IN 2012Not surprisingly, FIRST MOTION has had three very busy years: researching, exper-

imenting, producing and evaluating different themes and products in order to

achieve the targets set in 2009. As crossmedia and transmedia stand for very new

developments, it was an open question how far the results of FIRST MOTION’s work

could reach. On top of this it turned out that the process of digitisation in the av-

industries was emerging very fast at the same time as FIRST MOTION was approach-

ing new ideas, solutions and structures for coping with the demands of digital

change. The market and collaboration platform Baltic Universe, for instance, which

FIRST MOTION has been developing, had to be altered in its aims and architecture

several times because of changing needs in audiovisual business.

Today, it can be considered that FIRST MOTION has generated a lot of output to

serve as basis for further development. It has picked up the threads that occurred

for industries, governments and universities dealing with the upcoming challenges.

»How to tell & sell a story in a digital world« has been the leitmotif. To implement

this challenge in terms of practical relevance recommendations in form of open

questions have been formulated to politics, industry and educational system.

FIRST MOTION’s output can be summed up in six points:

1. Research and Development 16 pilot productions in seven countries, testing dif-

ferent production models in different funding bodies and national contexts

2. Baltic Universe a distribution platform and collaboration tool for film- and cross -

media-producers

3. Education and Training MA and BA curriculum at Baltic Film and Media School;

laboratories for young producers; train-the-trainer programme for mentors; a

book on crossmedia strategies in media industries

4. Tools Business Development Services: how to build up business in crossmedia

and transmedia; Cluster Landscape Handbook: creating professional networks

and new business models; IPR-Guide for the Baltic Sea Region: intellectual pro -

perty rights in international context; Business Planning Tool for producers

5. Guidelines and Recommendations digital distribution, business development ser -

vices, law, funding schemes, creative clusters and cross-industry linkages

6. Baseline research on all fields of business, governing and education

»FIRST MOTION has brought important knowledgeabout crossmedia production both for the partnersand the av-companies in the Baltic Sea Region. The project has broadened our horizon and given usthe opportunity to strengthen our Baltic network. Eva Hubert//Film Fund Hamburg Schleswig-Holstein//Germany

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16INNOVATION,CREATIVITY, COMMUNICATIONDigitisation, crossmedia and transmedia projects, new business models, digital dis-

tribution methods, modern funding schemes et cetera – there surely are plenty of

technical, economic and political fields for innovation in FIRST MOTION.

Besides, the process of learning, creating ideas, discussing and spreading them

in the Baltic Sea Region was somewhat innovative itself. The question had to be

ans we red how FIRST MOTION could be able to generate new crossmedia and transme-

dia approaches, make practical experiences, evaluate the results and draw the

right conclusions in very short time on a rapidly changing market.

PRACTICAL EXPERIENCE AS THE KEY TO INSIGHT 16 new projects of young producers

from all seven participating countries functioned as nucleus. They were chosen to

receive a financial support by FIRST MOTION for research and development of their

cross- or transmedia ideas. It was an hands-on approach as the young enterprises

had to create a product that should be marketable and show a way of creating new

business. But they weren’t left alone with this. They participated in two laborato-

ries together with the other projects, where they presented ideas and their prelim-

inary work, discussed them, received theoretical input and practical tips.

MENTOR WORKSHOPS: TRAIN THE TRAINER Each project had its own mentor who sup-

ported the team behind the project to unfold their potential in the initial phase.

Only half of the mentors had practical experience with running a crossmedia or

trans media project or at least playing an active part in it. They were mainly mem-

bers of film funding institutions and film schools or universities. So it was crucial

to get the mentors qualified at the same time as the producers. Therefore, special

mentor workshops were held where the mentors created a common platform of meth-

ods, models, tools and principles for their job.

This learning process took place in 2010 and 2011. Young producers getting inspired

by other young producers, mentors helping the productions to get on the track, and

cooperation of mentors setting up standards: a network of practitioners in crossme -

dia and transmedia across the Baltic Sea Region has been founded and will hope-

fully extend in the coming period.

»I am thrilled to bits about the huge contri-bution that FIRST MOTION has made to the brand-ing of transmedia solutions as an important and meaningful activity. My own projects havereally profited from so much serious publicity.Esben Ravn Kjaer//Producer//Denmark

17ADVISORY BOARDIn order to broaden the discussion about FIRST MOTION, to disseminate its results

in other networks and to participate from the experience outside, an advisory board

was initiated. It acts as an informal network, responsible to the general idea of

FIRST MOTION and the demands of the daily work of the board members.

As pointed out in the charter, »the members of the board affirm, by accepting the

honorary membership, their interest to communicate information, expertise and re -

sults of FIRST MOTION research to the av-industry in all directions and according to

the pattern of demand. The members of the board also agree to be informed by the

project and follow up organizations about results and outcomes and signal inter-

est in using the information to make policy. They also act as counterpart to check

on what FIRST MOTION partners are doing and advise on further strategy. Advisory

Board members agree to publicly endorse FIRST MOTION. The members of the board

take advantage of their institutional networks as well as the existing FIRST MOTION

network to foster a sustainable growth and development of the av-industry in cul-

tural and economic sense.«

The advisory board consists of at least three to a maximum of ten members. It met

se ve ral times during the FIRST MOTION project period and will go on meeting in

the future.

The members are (as of November 2012):

Charlotte Appelgren//Secretary-General of Cine-Regio//Denmark

Eva Hubert//CEO Film Fund Hamburg Schleswig-Holstein//Germany

Jan Lundin//Director General, Council of the Baltic Sea States Secretariat//Sweden

Edith Sepp//Cinema Adviser, Ministry of Culture//Estonia

Dr. Eberhard Schmidt-Elsaeßer//State Secretary of the Ministry of Justice, Cultural

and European Affairs Schleswig-Holstein//Germany

»I hope, crossmedia can become a link betweenfilm industry and gaming, advertising, design orother industries, and helps in bringing profession-als together to create new extraordinary projects.Edith Sepp//Ministry of Culture//Estonia

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Charlotte Appelgren//Secretary-General

of Cine-Regio//Denmark

»CULTURAL DIVERSITY IS NECESSARY«An interview with Charlotte Appelgren, Denmark, Secretary-General of Cine-Regio

How significant are cross- and transmedia for the future of av-industry in general?

Appelgren Digital technologies are changing the way films are financed, produ ced,

distributed and watched. We are now in the most challenging period in the history

of cinema. Digital technologies have created a demanding culture – an expectation

of immediate access to content and one in which opinion is instantly shared across

networks.

Which specific role could crossmedia play for the av-sector in the Baltic Sea Region?

Appelgren For the film and media companies in the Baltic Sea Region crossmedia

is an opportunity to create economic sustainability. To face the competition and

remain strong in the future, the av-sector in the Baltic Sea Region must be innova-

tive in terms of adapting to the new market terms of digital and individualized

consumption. Crossmedia can act as a tool to exploit film-based IP, diversify on to

other platforms and engage new audiences. Audiences want to be engaged and in -

volved and crossmedia offers a way of meeting this demand. Crossmedia also pro-

vides a strong framework for innovation since experimentation with crossmedia

projects requires new innovative approaches and cooperation between previously

unrelated industries both in terms of the creative content and experimenting with

new business models.

What do you wish for the future after FIRST MOTION?

Appelgren Let us ensure that the crossmedia opportunities and the ground-break-

ing work of FIRST MOTION will contribute to European cultural expression, cultural

diversity, sustainability and economic growth across Europe. We must keep remind-

ing ourselves that cultural diversity is as necessary for mankind as biodiversity is

for nature.

Cine-Regio is a network of regional film funds in Europe. The network is continuously expanding and todayrepresents 38 regional film funds from 13 EU Member States, in addition to Norway and Switzerland.The members exhibit a range of support schemes and services to the film sector which aim to support filmculture, encourage social cohesion and build regional infrastructure. www.cineregio.org

OUTPUTIN DETAIL

RESEARCH AND DEVELOPMENTAs described before, an important part of FIRST MOTION was to build capacity in the

av-industry for new crossmedia formats – including their efficient production and

models for sustainable support as well as the collection of expertise about the

emerging markets to begin with. FIRST MOTION chose 16 projects in two calls for ten-

ders; the idea was for SMEs and their institutions (government bodies) to execute

the research and development in a hands-on approach, namely the implementation

of concrete project ideas. As primary stakeholders they were asked to build up key

innovative areas, relevant knowledge and necessary structures for their indivi-

dual projects.

FIRST CALL PROJECTS WERE KEEN TO EXPERIMENT The creative industries – and with

them a lot of small and medium-sized enterprises in the av-media sector – were and

are eager and interested in narrowing the shores of the digital and crossmedia

world in order to stimulate economic growth and create contemporary and sustain-

able business models. When FIRST MOTION started its first call in 2010, more than 60

submissions from all over the Baltic Sea Region were handed in. Seven succeeded

in convincing the FIRST MOTION partners. The first call projects experimented with

new business models and methods of telling and selling stories and av-content. The

projects looked at the topic from different angles and highlighted varying aspects:

some were concentrating on the interaction of story and audience, on user-gener-

at ed content and its influence on the final media product. Some were focussing on

alternative financing methods, time and money saving production workflows and dis -

tribution concepts. Others tested the range of possibilities and the usage of cross-

sectorial spillovers in order to create synergy effects between different markets.

INITIAL FUNDING WAS COMPLEMENTED BY WORKSHOPS AND MENTORING All projects

convinced the FIRST MOTION committee because of their innovative approaches to

the use of crossmedia possibilities, their stories and the teams attached to the pro -

jects. The funding included up to 30.000 Euros for initial development, two man -

datory international workshops, individual mentoring by FIRST MOTION partners as

well as digital publishing and international marketing of the pilot product. 

»If we want to reach large scale audience,not only those people who are generally in -terested in non-commercial films we must work»crossmedia«. But not only in the sense ofcrossing media channels and platforms, butalso as educational platforms in schools. Ilona Bicevska//Producer//Latvia

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FIRST CALL PROJECTSLATVIA 15 YOUNG BY YOUNG by Ilona Bicevska and Roys Dauburs

is a multimedia documentary project consisting of a series of 15 short stories and

ani mated memory episodes all directed by 15 young filmmakers from the 15 republics

previously part of the former USSR. The project aims to contribute creatively to the

process of European historiography and offers a lot of interfaces between differ-

ent types of media, genres and cultural discourses. www.15youngbyyoung.com

GERMANY FISH & ONIONS by Marc Brummund, Rene Fischer and Bettina Herzner

is an ethnographic documentary project that deals with the Russian Old Believers

who settled down in Eastern Estonia. The project team shot documentary footage

about their traditions and daily reality in villages at the shore of Lake Peipus, in

order to tell their stories, memories and thoughts. www.fishandonions.eu

ESTONIA KULTUUB by Agne Nelk, Aet Laigu and Peeter Erik Ots

aims for transferring the social experience of meeting, exchanging thoughts, notes

and cultural preferences from real life to a virtual platform functioning as an anony -

mously organized open space and melting pot for Estonian culture and mentality.

www.kultuub.ee

SWEDEN LARGER THAN LIFE by Nic Schröder and Tobias Lundqvist

is a web based crossmedia project offering a whole new world of possibilities to

improve the sound quality of crowdsourced video clips and professional concert

videos. It enables the user to improve the audio and visual quality of his/her

media product and so combines user-generated content with a new professional

product. www.youtube.com/watch?v=Tj3Vs2JG5S4

DENMARK NO 1 THE JESUS RIG by Rune Christensen and Anders Berthelsen

The Jesus Rig is an innovative time and money saving rigging tool developed for

medium and large productions – like Number One, an animated sci-fi comedy/drama

21

about small players in a large intergalactic game. The Jesus Rig is a single rigging

tool for minimizing repetitive tasks during the animation of multiple characters.

www.balticuniverse.com

NORWAY NORTHERNERS IN THE TIME OF CHOLERA by Frode Vestad and Havard Axel Kator

focuses on the climax of the Cholera pandemics in the 19th century at the coastal

cultures around the Baltic Sea by assembling numerous local stories about the con-

ditions and consequences of and the struggle against the epidemics. The histotain-

ment project can be used online and offline for educational purposes in the fields

of research, museums, media, and cultural institutions in general.

www.timesofcholera.com

GERMANY SUPERHERO BLOG by Stefan Gieren

is a multiplatform storytelling project revolving around the fictive high-school

gra duate and wanna-be-superhero Robin who wants to learn from the best, and

starts a three-month internship at New York’s legendary Captain Impact. By sharing

Ro bin’s life as a superhero intern via social media platforms, the fully plotted

story supports and provokes the participation of users who can post feedback

and comments. www.balticuniverse.com

22

Share life with wanna-be-superhero Robin: www.balticuniverse.com

SECOND CALL PROJECTSIn February 2011 FIRST MOTION called for a second round of applications from cre-

ative entrepreneurs in the field of transmedia storytelling and innovative approach -

es to transmedia project implementation. From almost 100 applications from all over

the Baltic Sea Region, nine projects were chosen for an initial funding.

As with the first call projects, participants of the selected productions each took

part in two international workshops on transmedia. Together with external experts

and regional mentors, these LABs provided for discussions and knowledge transfer

in such fields as development, production, marketing and distribution. The mentors

themselves had to attend a training which qualified them for the supervision of

the projects.

NORWAY 2TIMES ANN by Catherine Kahn, Trond M.K. Venaasen, Jorge Lino and Char-

lotte Kahn

is an interactive crossmedia project, promoting community building and social en ga -

gement through storytelling. Targeting an audience of girls between 11 and 17 years,

2Times Ann wants to offer an intense experience with gaming and in-show participa-

tion. Through the fictional web series 2Times Ann, girls are given the chance to

support, discuss, advice and help two fictional Anns, both 15, in dealing with their

issues, dreams and challenges. The users’ pro-active involvement will feed the con-

tent of the 2Times Ann drama. www.2timesann.com

DENMARK DREAM EQUILIBRIUM by Frederik Villumsen and Jeanette Norgaard

is an imaginative transmedia sci-fi adventure told across several platforms, such

as an e-comic, animated episodes and computer games. Each platform serves as a

unique window to the story. Animated episodes of the e-comic will branch out into

multiple storylines – all of them allowing users to follow the campaigns of those

who battle for the dominion of the human mind. All characters of Dream Equilibrium

burdened with a fantastically odd handicap – seeming to have the potential to

de velop into unique powers if guided in the right direction.

www.dream-equilibrium.com

23

»FIRST MOTION explored the frontiers of nextgeneration storytelling. A visionary endeavour.In the past two years, the art and technology ofcrossmedia have become crucial to our industry. Stefan Gieren//Producer//Germany

GERMANY FIVE MINUTES TO THE FUTURE by Christoph Corves

is the FIRST MOTION supported transmedia extension of the project YooWeeDoo. The

idea of YooWeedoo is to bring so-called changemakers, social innovators and social

entrepreneurs together in a virtual community for people who feel that their desti-

nation is to create sustainable solutions for society’s challenges. YooWeeDoo sup-

ports people’s ability to become a changemaker by inspiring, mentoring, networking

and collaborating with other members of the community. Additionally, YooWeeDoo

hosts online competitions to identify and fund the best ideas for social innovation

and social change. www.yooweedoo.org

SWEDEN GHOST ROCKETS by Kerstin Übelacker and Michael Cavanagh

is an interactive universe with a community, web content and an online-based inves-

tigation game which refers to a documentary film portraying the organization UFO-

Sweden and how it in 2012 is embarking on its biggest investigation ever. Since

1946, approximately 2,000 unidentified objects have been seen in the skies above

Sweden. The phenomenon has become known as the Ghost Rockets. The project will

accompany UFO-Sweden’s search for a tangible answer or a glimpse of truth, some-

thing that can explain what has happened in the last decades. www.ghostrockets.se

ESTONIA DAGÖ-SWEDES COMMUNITY PROJECT by Riina Hein

The idea of this special heritage project is to build a virtual monument to an eth-

nic group called Dagö-Swedes and to help their culture last before it will be lost to

future generations forever. In order to meet this end, the project team employs dif-

ferent transmedia techniques which allow them to compile and preserve impressions,

traditions and customs of the few descendants of Dagö-Swedish emigrants to the

Ukraine. The project also introduces the community life of Dagö-Swedish descen-

dants in Sweden and Canada. www.livinghistoriesworld.com

LATVIA MAGIC BIRD by Inga Praulina

is an interactive crossmedia game for children aged 5 to 8. It tells the story of a

fa mily with three children. One day the family discovers that the father has lost his

laughter. The player now has to choose one of the three children as his »avatar«

and set it out into the world to find the Magic Bird who can bring back laughter

24

»Transmedia is a platform for innovationwhich democratizes storytelling. When a regionsupports transmedia, it opens up doors fortalents to create an entirely new industry. Kerstin Übelacker//Michael Cavanagh//Producers//Sweden

to the father. On his journey to Magic Bird Land, the player has to master seve-

ral adventu res and needs to befriend different animals to help him along the way.

www.balticuniverse.com

LATVIA SHAMMIES by Sabine Andersone

is an animated crossmedia project for pre-school children, discovering the world

based on games, fantasies and word plays. The Shammies are four small curious

beings: Sockie, Hankie, Mitten and Pillow, living in a colourful textile house. With

the character Mr. Cat, the Shammies luckily always have someone around to watch

and help them learn about everyday tasks and discover the curiosities of our world.

www.theshammies.com

POLAND THE SKATE BOAT by Róza Misztela, Leyla Cömert and Anita Kwiatkowska-Naqvi

is a project about skateboarding – meant for everyone to participate in the process

of creating and re-creating the history of skateboarding. The filmmakers turned the

idea into a transmedia storytelling approach, giving both the producers and the

skaters more space and opportunities to participate in the process of the story-

telling. The project now includes a website with the virtual casting of skaters for

the next part of The Skate Boat film, interactive maps of skate-spots, the Skate

Boat game, blogs and the documentary film itself. www.skateboat.pl

GERMANY TELL ME WHO YOU ARE by Jessica Landt and Falk Nagel

is a cross-cultural transmedia project about youth, identity and body language.

Millions of people worldwide share a passion for dancing.

Tell me Who You Are wants to connect dancers and dance enthusiasts on an inter-

active web platform. On yourbeat.org, dancers from all over the world are invited to

share their individual stories, styles and dance moves in form of videos, pictures

and information. The dynamically growing online community will be lined with sto-

ries of dancers that the project team meets along the way. www.yourbeat.org

25

Never heard of Ghost Rockets before? Learn more about it: www.ghostrockets.se

BALTIC UNIVERSEOne of the main objectives of FIRST MOTION was to design and launch an online col-

laboration tool and distribution platform for film- and crossmedia-producers in

industry, universities and schools. As a community for artists and audiovisual crafts -

men who believe in the principle that the more we share, the more we get, the plat-

form should be open for everybody and everybody’s benefit.

This complex tool is a joint venture of all FIRST MOTION partners, mainly brought on

its way by the University of Agder (Norway), the National Film Centre of Latvia and

the Film Fund Hamburg Schleswig-Holstein (Germany).

BETA-VERSION FOR GAINING EXPERIENCE In February 2011, the beta-version of Baltic

Universe was launched under www.balticuniverse.com. It was co-developed, tested

and improved by the FIRST MOTION projects of the first call. In close collaboration

with the av-industry, Baltic Universe was constantly adjusted in the beta-phase to

the requirements and changing conditions of crossmedia business and e-learning in

media schools.

FINAL VERSION ON ITS WAY The final version of Baltic Universe is going to be re leas -

ed at the closing conference of FIRST MOTION in December 2012, accompanied by an

active marketing process beforehand.

Baltic Universe will consist of three areas:

VOD-tool (Video on demand) sophisticated distributing of film on the internet. In -

cludes embedding of films with payment system directly integrated in the player

Project-tool can manage a project from concept to final product and distribu-

tion. Useful for structuring the process of a project. It includes calendar, tasks,

file- and links-library

Adress register of film and media partners, companies, teachers and students;

sortable by various aspects

26

Baltic Universe is a non-profit project and nearly free of costs for its users. The

code is open sourced and can be copied or extended if required. Baltic Universe

will be run at least for five years by a group of owners recruited out of the pool of

FIRST MOTION partners. The company will be set up as European Economic Interest

Grouping (EEIG).

Finding partners, exchanging ideas, starting cooperation at all project stages,

distributing content and getting revenue becomes easier with the Baltic Universe.

FIRST MOTION launched an effectively working instrument for self-determined net-

working, project development and distribution within the creative industries aim-

ing to fire and stimulate dynamic economic growth within the BSR. By offering such

a non-profit tool, FIRST MOTION contributes to the upgrowth of new time and money

saving production and distribution structures, social cohesion and cross-cultural

collaboration strategies, new business models and value chains while increasing

product quality and availability.

27

»Since Gutenberg, the control of distribution has been the source of media power. FIRST MOTIONpointed out important directions and linked to getherenergies – so that people in small and middle-sizedcompanies could take control of the distribution. Bjorn Enes//Producer//Norway

»The FIRST MOTION project was spot-on in that it helped to create a new international curriculumto fill the void in the Baltics, and it is well aheadof most film schools in Europe at that.Martin Aadamsoo//Baltic Film and Media School//Estonia

EDUCATION AND TRAINING CROSSMEDIA PRODUCTION – AN INNOVATIVE MA CURRICULUM FOR THE BSR Higher edu-

cation programmes in the area of media content production are usually focused on

specific silos of knowledge and skills. One can, for instance, learn to become a film

producer or a TV producer, radio producer etc. However, in the era of media conver-

gence and the emergence of new areas of practice such as crossmedia and transme-

dia, these well established domains of knowledge and practice might be understood

as too limited. Therefore exists an emerging need to train the professionals of the

new era in order for them to be able to operate across the multiple platforms of

modern media landscapes.

How can we transfer audiovisual content to interactive media platforms? How can we

tell stories that integrate all these platforms and media into one multifaceted sto-

ryscape? How would we cooperate with users to develop our stories further? How do

you develop relevant business models for your innovative crossmedia product?

These are some of the questions that the Baltic Film and Media School’s (BFM) pio-

neering Master Curriculum »Crossmedia Production« addresses. BFM is an institute

of the University of Tallinn, Estonia. Launched in autumn 2011, the programme was

one outcome of FIRST MOTION’s target to install a professional education opportuni-

ty for creatives in the BSR.

The very practical course follows the hands-on, minds-on approach, and blends the

study of audiovisual production for multiple platforms, creative business devel-

opment and applications for interactive media in an innovative and stimulating

programme. Content, structure and composites of the MA-Curriculum Crossmedia Pro-

duction were tested by FIRST MOTION’s partner institution BFM at the laboratories,

the so called LABs: two series of international workshops for the participants of

FIRST MOTION’s first and second call. Those LABs helped to develop, improve and

adjust the first international crossmedia programme in the Baltic Sea Region.

A Strong Network of Expert Partners Supports the Programme Crossmedia Produc-

tion is run jointly with the University of Tartu (Estonia), while the region’s leading

business school, the Stockholm School of Economics in Riga (Latvia), provides the

entrepreneurship module. Students split their time between three top universities

in the Baltic States. In addition, faculty members of Tallinn University’s Institute

of Informatics teach the Interactive Media module.

28

The programme’s strength lies in its close cooperation with the leading media and

communication companies in the Baltic region – the largest broadcasters and on -

line media companies, production houses, major mobile operators, IT companies, etc.

The business partners provide the programme with facilities for internships, while

their staff members supervise and consult on students’ projects. The programme

ends with a practical crossmedia project that is innovative not only artistically, but

also in its business applications and technical solutions. The graduation projects

are produced in teams supervised by internationally acknowledged academics and

practitioners.

Next Steps Have Been Taken Building up on its success – 17 students from six

countries have taken part in the two rounds of the MA programme – in addition, a

BA programme »Crossmedia Production« has been launched combining the areas

of IT, management and audiovisual media production, offering both theoretical

grounds and exciting practical assignments. The 3-year-programme started in Sep-

tember 2012.

In 2013 BFM will run a summer school on crossmedia production for the first time.

Young professionals of the Baltic Sea Region will have the opportunity to improve

their knowledge and train their practical competences in a short term course. BFM

will therefore cooperate with several partners, also aiming for knowledge transfer

between them. www.bfm.ee/programmes/crossmedia

A NEW BOOK ON CROSSMEDIA In November 2012, a new book »Crossmedia Innova-

tions: Texts, Markets, Institutions« was published as one of the outcomes of FIRST

MOTION. The editors Dr. Indrek Ibrus from Tallinn University and Dr. Carlos A. Scolari

from University Pompeu Fabra, Barcelona, asked authors from three continents for

their contribution. As crossmedia is an emergent practice that arises as one of the

core sources of complexity and innovation for late modern cultures they approached

the phenomenon from different disciplinary angles: semiotics, cultural studies,

media economics, political economy, innovation studies. On more than 300 pages

they give a review of the current situation and formulate perspectives for the

future (see page 46).

29

»Crossmedia and transmedia enable an innovativeapproach to the storytelling and to building businessstrategies. In addition, new distribution channelsmake it possible to reach new audience groups.Maciej Strzembosz//Polish Audiovisual Producer's Chamber of

Commerces//Poland

TOOLS 1 BUSINESS DEVELOPMENT SERVICES One of the objectives of FIRST MOTION was to strengthen the development of busi-

ness amongst companies in the field of crossmedia. To meet this end, several dif-

ferent activities were conceived and carried out by the Danish project partners:

Pixel Jam an intensive three-day workshop focusing on transmedia ideas and

bringing creative industries and creative professionals together.

The Wheel of Growth companies from the av-sector were screened for challenges

and potentials in their development, in cooperation with consultants from the

Vaeksthus Central Denmark and North Denmark Development Centres

DFI-Day Filmby Aarhus invited The Danish Institute of Film and local politicians

to a debate on how to develop and maintain talents in West Denmark.

Passion A/S a series of workshops structured around various themes related to

business development

DRIVING BUSINESS FORWARD The workshop series Passion A/S targeted crossmedia

businesses in the Central Denmark and North Denmark Regions. It was designed to

provide the companies with business development tools, allowing them to work

strate gically and more professionally.

The objectives were:

to give the companies skills in business development

to strengthen the network among the crossmedia companies and expand it to

other industries, business promotion actors etc.

to collect and document specific experiences in relation to future business

development courses and policy in the area

to sharpen the companies' international focus

Each workshop included a combination of keynotes, group work, discussions, net-

working and pitching. They were planned on the basis of a survey among the re gions

crossmedia companies in order to meet their specific needs. For the evaluation of

the workshops, the project partners looked closely at the process, content and

31

sequence of events, as well as the benefits reaped by the participants. It is based

on questionnaires answered by the participants after each workshop.

The evaluation will be used to formulate policies in the area and as direct input in

the form of »proof of concept« for local and regional business promotion actors in

order to strengthen their endeavours for crossmedia companies in future.

TOOLS 2 HANDBOOK ON CLUSTER LANDSCAPES As part of their engagement, the FIRST MOTION partners aimed to provide stake-

holders of the av-sector with tangible tools that support their efforts in business

development. The Danish regional FIRST MOTION partners Filmby Aarhus and The

Alexan dra Institute defined guidelines for creative clusters and their management.

Their expertise then went into the creation of a very hands-on, non-typical tool:

the Handbook on Cluster Landscapes.

It is meant for cluster managers or companies in a cluster and focuses on creating

the fuel for driving emerging audiovisual clusters at the level of small business

parks further along in its development. The fuel consists of trust and transparency

amongst the companies and administration within a cluster. The handbook in vi tes

the members of a cluster to reflect about their work and what could help establish

the right foundation to move on.

A CLUSTER LANDSCAPE CANVAS TO FUEL DEVELOPMENT According to the handbook’s

authors, a cluster has to be founded on existing interlocated companies that have

a potential for complementing each other within the same field of expertise. A foun -

dation of trust and transparency will help companies to establish professional and

personal relationships and raise the potential for increased innovation and pro-

ductivity in their cluster. To create the fuel or foundation for further development

of a cluster, the handbook focuses on eight key areas that make up the Cluster

Landscape Canvas.

The eight key areas and the recommendations made in the handbook are based on

32

»FIRST MOTION has enabled the development oftruly unique new curricula at the Baltic Film andMedia School and has also served as a valuab lestructure enabling the development of crossmediavirtual cluster in the Baltic Sea area.Katrin Saks//Baltic Film and Media School//Estonia

needs and opportunities uncovered from the research of the audiovisual business

park Filmby Aarhus in Denmark:

Identity The identity of a cluster is the colour shot through everything and is

therefore the most important area of a cluster.

Crossmedia Crossmedia and transmedia are areas which gain a lot of attention

these years and hold a promise of lifting the audiovisual industry out of the

challenges it faces.

Physical Surroundings The physical surroundings should play into the way peo-

ple within the audiovisual industry conducts business.

Visible Manager Making sure the manager and the activities that he or she per-

forms are visible within the cluster create trust and openness between the ad -

ministration and the companies.

Noticeable Administration In general the cluster administration’s job is to tie the

cluster together and spread information about their activities and the identity.

Communication If the communication is not two-way or lacking, it is a breeding

ground for misconceptions and rumours and will create a dispersed cluster.

Matchmaking In order to get the synergy effects rolling that clusters have been

known to create, matchmaking activities need to take place.

Growth To create growth, a cluster should never be allowed to settle into old

routines. The companies in the cluster should be kept inspired and ambitious.

By inviting young talented people and thereby provoking old ways of thinking

about business is something every cluster should do.

The Cluster Landscape Canvas is located in the fold-in at the back of the handbook,

and can be found on www.clusterlandscapes.com for download. The Cluster Land-

scape Handbook is meant to be a tool for reflecting about the current situation of

a cluster and work as a springboard for further development.

CLUSTER MANAGERS CAN SHARE IDEAS AND EXPERIENCES Within the handbook, the

Cluster Landscape Canvas is recommended to be used as a reading companion in

which the cluster manager can add the recommendations he wants to pursue while

reading the handbook. Besides, the canvas works as a tool for bringing out own

recommendations or needs about the eight key areas or additional ones that seem

relevant. Cluster managers are also invited to share ideas and experiences on

www.clusterlandscapes.com.

33

TOOLS 3 A COMMON GUIDE FOR COPY-RIGHT LAW IN THE BSRIn order to support the development of the audiovisual industry of the Baltic Sea

Region, the Polish FIRST MOTION partner Lodz Film Commission created the »Guide to

Copyright Law« or, briefly, »IPR Guide«. IPR stands for Intellectual Property Rights;

the guide documents important issues of different digital distribution rights for all

Baltic States. It is aimed at SMEs involved in digital distribution on transnational

markets and wants to provide them with basic practicable knowledge concerning

important legal aspects of their creative work.

OVERVIEW OVER REGULATIONS IN PARTICIPATING COUNTRIES The guide is meant for

people without law knowledge who conduct business in the area of production and

film distribution. It therefore concentrates on the practical application of the law.

It describes common regulations on copyright and related rights in the legal sys-

tems of Poland, Lithuania, Latvia, Estonia, Denmark, Sweden, Norway and Germany.

Differences of these jurisdictions in the discussed area are identified. The sections

related to each national legislations have been formulated based on material pre-

pared by lawyers of the respective countries.

Due to the thematic scope of the guide and its purpose the contained information is

presented in a simplified and demonstrative manner.Many aspects related to the pro-

tection of intellectual property rights which aren’t directly related to the discussed

issues have been omitted, including special regulations referring to the intellectu-

al property rights on computer programmes and the sui generis rights on databases.

IPR GUIDE SERVES FOR ORIENTATION ONLY Therefore, the guide can serve for infor-

ma tive purposes only and the information contained does not constitute legal

advice. This guide is only a general overview of Intellectual Property Rights and is

not in tended to be exhaustive. As the legal system is undergoing constant chan-

ges, the directives and legal acts concerning the copyright law should always be

checked individually for each project. The IPR Guide can be downloaded from

www.firstmotion.eu

34

»FIRST MOTION initiated networking and learningprocesses in our local area which brought a big leapinto a new paradigm in the industry, regarding to aprofessional approach to the creation and the exploi-tation of creative universes on many platforms.Ellen Riis//Producer//Denmark

35TOOLS 4 BUSINESS PLANNING TOOLCalculation and financial planning are critical issues in the context of media pro-

duction, especially for small and/or new enterprises trying to succeed with cross-

and transmedia projects. FIRST MOTION developed a special tool to help with this

challenging process: the Business Planning Tool. This application can be used to

create, edit, export and print movie budgets. Intuitive tools allow for currency con-

version, entry of net and gross prices and the definition of node types.

The Business Planning Tool was integrated into the Baltic Universe platform and is

one of the key essentials to be used there.

37BASELINE RESEARCHAn important aim of the FIRST MOTION project was to create a strategic frame for

baseline research of the actual situation of the av-sector in the Baltic Sea Region.

The close assessment of the status quo allowed the project partners to formulate

both the potential and the specific needs, thereby laying out the necessary ground -

work for applicable recommendations and the development of tools as de fi ned in

the project’s targets. Research was done in several areas, such as business models,

value chains, cluster development and business development services.

Several reports and case studies resulted from the research conducted. They will

be introduced briefly in the following; the complete reports can be accessed in the

Download Center on www.firstmotion.eu.

VALUE CHAINS AND BUSINESS MODELS: CURRENT SITUATION AND PROMISING CHANGESDigitisation has brought about new opportunities for media content-producers.

This challenges traditional value chains in the sector and puts emphasis on the

development of new business models for a digital world. Research of existing parts

of the audiovisual value chain (education, networks, TV and funding) from the per-

spective of The North Denmark Region and the Central Denmark Region was conduct-

ed by Filmby Aarhus and The Alexandra Institute.

On the one hand the report analyses the current situation in the audiovisual media

sector in the Baltic States. On the other hand it comprises the latest global trends

in developing innovative business models and appropriate value chains in a digital

world, aiming to draw effective and specific conclusions for the creative industries

of the Baltic Sea Region.

The report is based on national and international literature reviews, research of

educational programmes; research of media networks and clusters in the regions,

research of TV channels and the independent TV production sector and research of

public funding schemes and other support-schemes aimed at audiovisual produc-

tion. The report explores the changes in value chains and the development of new

practice related to business models, aiming at sharing experiences, experiments

and practice of media companies in the regions.

According to the researchers, the key issue from a business sector's point of view

is not a lack of opportunity related to production and distribution in the new media

»Consumers of the future have every technicalopportunity for being entertained at their dispos-al – and they will have free access to be spoiledfor choice. High-quality content will therefore beessential for the av-industry's survival.Soren Jacobsen//Consultant//Denmark

38climate, but how to develop sustainable business models meeting the user-driven

demand for entertainment everywhere at any time. Their findings suggest that the

creative industries remain creative, not only in producing new kinds of content, but

also in finding ways of financing, recouping and making production profitable.

The researchers found that the development of new business models is a topic well

reflected, though not yet acted upon by all stakeholders of the value chain. The

report describes some of the tendencies or themes emerging across sector from the

interviews, related to attitude and mindset as well as to practice.

CROSS-SECTORIAL SPILLOVERS: TWO CASE STUDIES FROM DENMARK AND POLANDOne task was to research new markets, alternative value chains and effective busi-

ness development services. Within this framework, the Danish regional partners

Filmby Aarhus and The Alexandra Institute as well as the Polish partners at the

University of Lodz conducted a research of exemplary cases of cross-sectorial spill -

overs in their countries.

The Danish research explores the opportunity space and cross-sectorial spillovers

seen between the audiovisual industry and the healthcare sector in Denmark. The

audiovisual industry has got competences and methods of expression which can be

used advantageously outside the industry’s own business context as, for example,

the healthcare sector. Visual information can help people to get rid of negative

fanta sies and it can help people with reading difficulties. In addition, content is

easier to remember. Even so important are the interactive elements of audiovisual

productions.

The case studies and mapping show and develop possibilities as to where audiovi-

sual methods have special opportunities. In general, they are defined as knowledge

(edutaining), crowdsourcing, socialising, supporting, rehabilitation (exer-gaming).

Among the cases evaluated are an animated patient story about hip re place ment

surgery and an interactive online community for young cancer patients.

The Polish case studies scrutinise an oral history project of the city of Lodz, an

internet based game within which the users discover the historical and modern Lodz

and a mobile system serving as a comprehensive tourism guide on several media

platforms.

Further reports deal with

the cases of Lodz and Malopolska provinces in Poland and of West Denmark on

business models, value chains and business development services

development potentials for films, crossmedia and interactive games in Latvia

overview on the history and present trends on Latvian film

creative processes and innovation management in the av-industry

best practice studies on niche marketing aimed at av-industry, SMEs and other

sector SMEs aiming to employ av-content as a marketing tool

39GUIDELINES AND RECOMMENDATIONSInstitutional support plays a major part for the av-industry: law and regulations,

business development and distribution services, cluster development, funding

sche mes etc. FIRST MOTION aimed at improving the institutional support for cross-

and transmedia productions. Therefore, it needed the basic research and, just as

important, practical experiences.

The idea was to draw conclusions out of both in order to postulate guidelines and

strategy papers for politics and business. This approach turned out to be too ambi-

tious, in the end, because the reflection of the multi-layered changing processes

in creative industry in Baltic Sea Region affords a bigger effort than FIRST MOTION

was able to undertake. Instead of setting up guidelines the project partners decid-

ed to formulate first recommendations and open questions on three points:

1. business development services, law, funding schemes for public authorities

2. creative clusters and better cross-industry interlinkages for public authorities

3. digital distribution for av-industry’s SMEs and public bodies

In the following, we present some of the recommendations that were made. Others

still have been in process when this brochure went to print.

RECOMMENDATIONS ON BUSINESS DEVELOPMENT SERVICES, LAW, FUNDING SCHEMESFOR PUBLIC AUTHORITIES

The convergence of media requires a completely different way of dealing with

cross- and transmedia projects compared to classical media. It has to be decid-

ed on national or regional level which structure or institution is going to foster

these new ways of production and distribution: traditional film funds with the

knowledge of the industry in film and media or new public bodies in charge of

promotion of economic development.

The sixteen pilot projects within FIRST MOTION confirmed our understanding of an

especially strong need of mentoring and financial support during the develop-

ment of projects on the one hand and over the period of positioning and market-

ing on the other.

Cross- and transmedia projects have a higher demand of financial and time

»Through FIRST MOTION we were able to directlysupport two cross-/transmedia projects and canalready see a rise in interest for a new way ofdoing things among the industry representatives.Marge Liiske//Estonian Film Foundation//Estonia

investment. They mostly follow a cross-national approach, have difficulties to

find the target audience and need a profound assessment of risks and econom-

ic valuation in an early stage. Part of the potential support could be a mentor-

ing programme through a group of experts in the different fields and a system

of labs invoking various skills and offering the tools to develop concepts and

determine future project's cross- and transmedia potential.

Within the Baltic Sea Region, the economy and culture in media is mostly stimu-

lated through public authorities by financial support. Two main funding systems

are at work now: funding decisions can be taken by a selection committee/jury

or a commissioner/consultant. It has to be decided which system is most practi-

cal for cross- and transmedia projects. Expertise in many fields such as story-

telling, co-production, social media, marketing, legal affairs, etc. has got to be

integrated into the selection and mentoring process.

New media searching for new markets require new business models and new value

chains including new financing models. In contrast to traditional media which

has a clear sender-audience relation and financing model, cross- and transmedia

projects have to decide if they will use models of selling, subscription, free to

use with extras or sales promotion.

Financing can also be carried out by crowd-funding, at least partly, supplemen-

tary to more conventional methods.

Crowd-funding is a method to finance new projects but even more important is

the possibility to create a community, gain an insight and a relation to the fu -

ture audience even before publishing the film. This early stage of relation-

building is important but difficult to calculate and rate.

In many cases, the income of crossmedia projects is created through classical chan-

nels – such as television broadcasting – while other parts of the project do gener-

ate little or no income. In the development of crossmedia projects, it is necessary

to budget very carefully: which media channels (e.g. creating an internet com-

mu ni ty; implementing a social media marketing strategy) create which costs and

bene fits. The producers of crossmedia projects often have their expertise in one

specific branch of media which makes it easy to underestimate the true costs and

resources required for crossmedia projects.

It appears necessary to consult the development of crossmedia productions with a

team of advisors that has a true crossmedia expertise, both horizontally across

different media and vertically along the value chain. In the assessment of the

40

»Crossmedia is opening completely newpossibilities for av-industry. The most impor-tant is the interaction with viewers throughdigital channels (internet/mobile) which arealready second most popular to television.Olgierd Cygan//Media Cluster Foundation//Poland

feasability and viability of crossmedia project proposals, it is necessary to look

very carefully at the expertise of the team behind the project in all crossmedia

aspects involved.

RECOMMENDATIONS ON CREATIVE CLUSTERS FOR PUBLIC AUTHORITIESRecommendations are given for the eight key areas that were found important while

establishing a creative cluster:

Identity

Create a unique and shared identity

Find out who makes up your cluster and how they are grouped

Give your cluster a unique name

Create public events

Invite students and talents to arrange events in the cluster

Create attention outside the cluster

Have big and mentionable parties

Crossmedia

Add crossmedia content to the communication

Create and present an inspiring and detailed crossmedia case

Create provocative crossmedia eye-openers

Create articles and viral videos with acknowledged crossmedia companies

Invite companies to share their ideas with the cluster administration

Physical Surroundings

Create informal meeting places

Put in glass doors

Create a large lounge-area

Design inviting outdoor-areas

Create a mindset and routines for dropping by the lounge areas

Create unique and attractive excuses for staying in the lounge areas

Create original surroundings

Add life and identity

Make companies present themselves individually

41

Visible Manager

Attend as many social and professional events as possible

Show and communicate that the manager is fighting for the cause of the cluster

Have weekly meetings with the companies in the cluster

Be the identity and promote it

Be active and visible in creating growth for the cluster

Be transparent in management decisions

Create an anonymous suggestion box

Noticeable Administration

Communicate what is happening »behind the scenes«

Create a lounge area nearby the administration office

Show the identity of the administration office

Place the administration office where people naturally walk by

Be a visible initiator

Initiate spontaneous happenings

Mingle at social events

Base events on company needs

Communication

Recruit a communication specialist

Create an internal communication platform

Get away from the typical e-mail newsletter

Attach value to a proactive and provocative external communication

Create a welcome pack for new cluster companies

Matchmaking

Let the companies get acquainted with each other

Display the faces of each person located in the cluster on welcome screens

Make sure to get the big companies involved in social and professional events

Utilise shared interests and hobbies

Frame social events for networking

Create artefacts that make people mingle

Get a hold on the upcoming and creative people

Open up for requests regarding new cluster companies

Growth

Boost the ambition level in the cluster

Make small companies realise that together they can join bigger projects

Create a playroom for young talents

Invite young, creative talents to spread knowledge

42

OUTLOOK

NAVIGATING TO FUTURE MEDIAReflecting the development of FIRST MOTION in the last nearly five years of prepara-

tion and project time, we can consider that we realised our planning prerequisites:

design the project as an open-structured space for development and innovation. At

the beginning, it was already obvious that with the present speed in development

and the changes in digital media some of our targets and projections would disap-

pear during the project time and others would come up.

CROSSMEDIA PRODUCTION IN A CONTINUOUS STATE OF FLUX Maybe one of the best

examples for this approach are the changes that took place in the field of digital

distribution. When we started our work, the desire was mainly to receive moving pic-

tures via internet. Within a few years the technical demands towards a distribution

internet platform have grown much higher and have become more complex. Today,

collaboration and networking are strongly demanded.

The production structure of cross- and transmedia is changing, too. A good example

for this process is the TV-provider ARTE which has adapted itself to the on-de mand

market, testing new ways of producing and broadcasting content.

A third aspect in this creative sector which is mostly observed for technological

reasons is the impact on social exchanges and interaction. Too often, the develop-

ment in social communication is not considered.

FIRST MOTION was one of the earliest transnational initiatives which established a

divergent approach with four main project lines: production, distribution, educa-

tion and business models. We managed to cope with the challenges of digital revo-

lution, creating solutions in many areas and also raising new questions in other

fields. The development of new methods continues, movement seems to be the most

constant condition for innovation.

NETWORKING AND COLLABORATION HAVE TO BE ORGANISED The FIRST MOTION team often

felt like being in a similar situation as the famous Portuguese Navigation Acadamy

of Sagres in the 15th century which was set up to push back the frontiers of the

known world. At this far south-western corner of continental Europe, the founda-

tions were laid for sailing into the future, exploring the world, making new contacts

»The Future of Electronic Entertainment is certainly associated with cross- and trans-media. Without them, it's like talking aboutcomputers without internet. Piotr Babieno//European Game Center//Poland

44

45and building up business and trade. FIRST MOTION acting as a modular academy for

navigation and networking in cross- and transmedia – a charming idea, obviously

still in an early stage but certainly a good goal to strive for.

Besides our results in research and practice there is one important outcome that

can’t be overestimated: We’ve managed to establish a sustainable network of active

and relevant institutions and persons in the Baltic Sea Region who are interested

in further collaboration. We’ll certainly build up on that and go on navigating to

future media.

45

46FIRST MOTION PUBLICATIONS

RESEARCHAudio Visual Companies: The State and Needs of Clustering

(The Estonian Institute for Future Studies, Estonian Film

Foundation/FIRST MOTION, September 2012)

Business Models and Value Chains in Audiovisual Media.

Research within the Framework of the Baltic Sea Region

Programme FIRST MOTION 2007–2013

(National Film Centre Latvia/FIRST MOTION, September 2010)

Crossmedia Innovations. Texts, Markets, Institutions

(Indrek Ibrus/Carlos A. Scolari/FIRST MOTION,

Peter Lang Verlag, ISBN 978-3-631-62228-5, November 2012)

Cross-Sectorial Spillovers: Opportunity Spaces between

the Audiovisual Industry and Healthcare Sectors

(Filmby Aarhus/The Alexandra Institute/FIRST MOTION,

June 2012)

Discovering the past. Spillovers from the audiovisual/

creative sectors onto the historical tourism sector, based

on analysis of projects implemented in Lodz, Poland, in

the years 2010–2012

(High-Tech Accelerator, University of Lodz Foundation/

FIRST MOTION, April 2012)

Report on business models, value chains and business

development services in the audiovisual/creative industries:

cases of the Lodz and Malopolska provinces and West Denmark

(Filmby Aarhus/Alexandra Institute/High-Tech Accelerator,

University of Lodz Foundation/FIRST MOTION, May/July 2011)

47Research. »Development Potentials for Films, Crossmedia

and Interactive Games in Latvia«. Research Report

(National Film Centre Latvia/FIRST MOTION, August 2012)

Selection of Articles on Latvian Film:

History and Present Trends

(National Film Centre Latvia/FIRST MOTION, August 2012)

Study: Value Chains and Business Models in the Audio-

visual Sector of the North and Central Denmark Regions

(Filmby Aarhus/The Alexandra Institute/FIRST MOTION,

September 2011)

BUSINESS TOOLSCluster Landscapes. A handbook for establishing the right

foundation for your cluster

(Filmby Aarhus/The Alexandra Institute/FIRST MOTION,

September 2011)

Evaluation of Passion A/S

(Filmby Aarhus/The Alexandra Institute/FIRST MOTION,

June 2012)

IPR Intellectual Property Rights Guide

(Lodz City Council/FIRST MOTION, March 2012)

EDUCATIONDescription of the »Crossmedia Production Curriculum«

(Baltic Film and Media School/FIRST MOTION, May 2011)

All publications (except for the book »Crossmedia Innova-

tions«) can be downloaded from www.firstmotion.eu

48CONTACT

Denmark Filmby Aarhus Filmbyen 238000 Aarhus C, Denmark+45 89 40 48 73www.filmbyaarhus.dk

The Alexandra Institute Aabogade 348200 Aarhus N, Denmark+45 70 27 70 12www.alexandra.dk

EstoniaBaltic Film and Media SchoolSütiste tee 2113419 Tallinn, Estonia+372 6 26 81 24www.bfm.ee

Estonian Film Foundation Uus 310111 Tallinn, Estonia+372 6 27 60 60www.efsa.ee

Germany Film Fund Hamburg Schleswig-Holstein Friedensallee 14 - 1622765 Hamburg, Germany+49 49 40 39 83 70www.ffhsh.de

latviaNational Film Centre of Latvia Peitavas 10/121050 Riga, Latvia+371 67 35 88 78www.nfc.lv

NorwayUniversity of Agder Service Box 4224604 Kristiansand, Norway+47 38 14 10 00www.uia.no

PolandHigh-Tech Accelerator, University of Lodz Foundation21/23 Matejki St.90 - 237 Lodz, Poland +48 42 635 49 84www.ciat.uni.Lodz.pl

Lodz City Council104 Piotrkowska St.90 -926 Lodz, Poland+48 42 638 40 00www.uml.Lodz.pl

SwedenBoost Helsingborg Dunkers kulturhus, Kungsgatan 1125221 Helsingborg, Sweden+46 73 231 51 98www.boosthbg.se

IMPRINTPublisher Film Fund Hamburg Schleswig-HolsteinFriedensallee 14 - 16, 22765 Hamburg//GermanyEditors Christopher Cohen, Julia Grosch, Anke Kü sel, Film Fund Hamburg Schleswig-HolsteinContributors Dr. Indrek Ibrus, Baltic Film and Me dia School//EstoniaAnna Ljungmark, Boost Helsingborg//SwedenKatre Kajamäe, Marge Liiske, Estonian Film Foun -dation//EstoniaMette Elmgaard, Filmby Aarhus//DenmarkBernd-Günther Nahm, Film Fund Hamburg Schles wig-Holstein//GermanyJanusz Kornecki, Ewa Postolska, HighTech Acceler-ator, University of Lodz Foundation//PolandBarbara Baczynska, Monika Glowacka, Wen and jusSzuster, Lodz City Council//PolandIlze Gailite-Holmberga, National Film Centre ofLatvia//LatviaKristian Krämer, The Alexandra Institute// DenmarkVidar Mortensen, Kristian Mosvold, University ofAgder//NorwayDesign büro für mitteilungen//Andrea SchüringsPhoto credits All pictures by FIRST MOTION, exceptpages 3, 4, 7, 8, 12, 14, 16, 17, 18, 20, 23, 24,27, 28, 31, 33, 34, 37, 39, 40, 44: private

Published December 2012

This brochure has been produced with the assis-tance of the European Union (http://europa.eu).The content of this publication is the sole re spon -sibility of the author and can in no way be takento reflect the views of the European Union.

DENMARK ESTONIA

GERMANY LATVIA

NORWAY POLAND SWEDEN

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