A work on the transmedia producer figure (spanish). Un trabajo sobre la figura del productor transmedia, tal y como se la conoce en 2014, inspirado en el trabajo de Jeff Gomez.

1. 1
El productor transmedia
Tamara E. Tonetti Buono

2. Índice
Producers Guild of America 3
Jeff Gomez, Productor Multimedia 4
Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor transmedia? 5
El productor transmedia como guardián de la coherencia del universo NT 7
Resumiendo, ¿qué hace un productor transmedia? 8

3. 3
En Estados Unidos, una de las figuras que más
activamente ha trabajado para que se reco-
nozca la figura del productor transmedia es
Jeff Gómez, CEO de Starlight Runner Enter-
tainment miembro del Producers Guild of
America (ver su ficha).
El hecho de que PGA reconociera el título de
productor transmedia y que pueda figurar,
representa el reconocimiento de una evolu-
ción en el mundo del storytelling.
La PGA dio de alta la figura bajo esta descrip-
ción:
A Transmedia Narrative project or franchise
must consist of three (or more) narrative
storylines existing within the same fictional
universe on any of the following platforms:
Film, Television, Short Film, Broadband, Pub-
lishing, Comics, Animation, Mobile, Special
Venues, DVD/Blu-ray/CD-ROM, Narrative
Commercial and Marketing rollouts, and oth-
er technologies that may or may not currently
exist. These narrative extensions are NOT the
same as repurposing material from one
platform to be cut or repurposed to different
platforms.
A Transmedia Producer credit is given to the
person(s) responsible for a significant portion
of a project s long-term planning, develop-
ment, production, and/or maintenance of
narrative continuity across multiple platforms,
and creation of original storylines for new
platforms. Transmedia producers also create
and implement interactive endeavors to unite
the audience of the property with the canoni-
cal narrative and this element should be con-
sidered as valid qualification for credit as long
as they are related directly to the narrative
presentation of a project.
Transmedia Producers may originate with a
project or be brought in at any time during
the long-term rollout of a project in order to
analyze, create or facilitate the life of that
project and may be responsible for all or only
part of the content of the project. Transmedia
Producers may also be hired by or partner
with companies or entities, which develop
El mundo de la narrativa transmedia, tal y como lo conocemos a fecha de 2014, está en sus primeros pasos aún. Debido a su temprana
edad, existe mucha controversia respecto a las figuras que integran los equipos encargados de desarrollar las tareas para llevar a ca-
bo un proyecto transmedia.
El reconocimiento de la labor y las tareas de los productores transmedia es objeto de debate entre gremios, profesionales, y comunida-
des, y podríamos hablar incluso de una cruzada.
software and other technologies and who wish to showcase these inven-
tions with compelling, immersive, multi-platform content.
To qualify for this credit, a Transmedia Producer may or may not be pub-
licly credited as part of a larger institution or company, but a titled em-
ployee of said institution must be able to confirm that the individual was
an integral part of the production team for the project.
Haz click para ver el vídeo
Producers Guild of America

4. 4
Jeff Gomez, Productor Multimedia
Nacido en 1963, criado con todo el cariño y amor que
una madre de quince años podía proveer, Jeff Gomez
crecería escuchando cuentos y relatos mitológicos por
boca de su madre, para escapar (de alguna manera) a la
cruda realidad que era Estados Unidos en 1970 y subsis-
tir en el barrio donde fue construido “Bernard Baruch
Houses” en Nueva York. Aficionado desde pequeño a
estos relatos y a los que le llegaban por parte de la cul-
tura japonesa, inició su primera conexión con el em-
brión de la narrativa transmedia gracias a “Kikaider” y
unas vacaciones en Hawai (ver el video “Dare to Chan-
ge” para más información).
He aquí una pequeña entrevista realizada a Jeff Gomez
por otra importante figura de la narrativa transmedia,
Henry Jenkins.
As the Chief Executive Officer of Starlight Runner Enter-
tainment, Jeff Gomez is a leading creator of highly suc-
cessful fictional worlds. He is an expert at cross-
platform intellectual property development and trans-
media storytelling, as well as at extending niche proper-
ties such as toys, animation or video game titles into
the global mass market. After establishing himself in
the tabletop adventure game industry, Jeff helped to
develop the super hero universe of Valiant Comics,
adapting its characters and storylines into videogames
for Acclaim Entertainment. Jeff’s first transmedia effort
was for the Wizards of the Coast trading card game
Magic: The Gathering, where he dramatized the mytho-
logy of the cards in an elaborate storyline across a se-
ries of comic book titles, web sites and videogames.
Jeff conceived and co-produced one of the most suc-
cessful transmedia storylines of the decade with
Mattel’s Hot Wheels: World Race and Hot Wheels Acce-
leracers comic books, video games, web content and
animated series for television. He has gone on to work
with such blockbuster properties as Pirates of the Carib-
bean and Fairies for The Walt Disney Company, James
Cameron’s Avatar for 20th Century Fox, and Happiness
Factory for The Coca-Cola Company.
Jeff has also spoken at M.I.T.’s Futures of Entertain-
ment conference and given his seminar, Creating Block-
buster Worlds: Developing Highly Successful Transme-
dia Franchises, to the Game Developers Conference,
New York State Bar Association, International Game
Developers Association and the Producers Guild of
America, as well as to such corporations as Disney, Fox,
Microsoft, Coca-Cola, Scholastic, Wieden+Kennedy, and
Hasbro.
VIDEO: Jeff Gomez: Dare to Change
ENTREVISTA: Henry Jenkins on Jeff Gomez (1)
ENTREVISTA: Henry Jenkins on Jeff Gomez (2)

5. 5
Una de las mejores maneras de entender cuáles son las tareas de un productor transmedia, es
escuchar a los propios profesionales, compartiendo su visión y experiencias. En 2012, Jeff Brid-
ges fue entrevistado por la cadena Shaw TV, en el programa “The Rush”, donde explicó cuál es
su trabajo como productor transmedia.
Interviewer – Before we knew you were coming on, I had hear on transmedia producer before
once or twice, but I dind’t actually know what it was, but I will leave the explanation up to you.
What you do?
J.G. – Okay. It's actually the funniest job in the world. The transmedia producer is someone who
comes into an intellectual property story world and defends and protects it as it moves across
multiple media platforms.
Interviewer – We’re talking movies, games, graphic novels, toys, I mean…
J.G. – Absolutely. Every conceivable media platform, digital and traditional.
Entre sus diferentes trabajos, habla de su labor en el universe de Men in Black.
J.G. - M.I.B. Example: "Awesome, it was just awesome. This is a situation where the studio Sony
pictures, they have this amazing universe, and they've made a few movies out of it, but what
people don't realise is that the universe is so rich and dense, and there's so many characters,
there's huge potential for videogames, comicbooks, novels... Just everything. And our job was to
kind of create this mythology which is this huge document, kind of a blueprint and guideline to
the entire M.I.B. universe."
[…] Interviewer - It's about how much you care about the story, the character, about th vialbil-
ity about what this actually is.
Y también comparte su experiencia trabajando para el desarrollo transmedia de la famosa saga
de videojuegos de Microsoft: “Halo”:
J.G. - HALO Example: Halo is so cool because you have a big smash it videogame that is super-
succesful on one media platform, but what a Halo novel would be like? What would a Halo
graphicnovel would be like? Or a movie or things like that? Weel, sometimes the storytelling on
different media platforms is very different. You wanna play with the strengths of each media
platform. So what we do is show teh game developer how cool it would be for this characters to
Haz click para ver el vídeo
Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor
transmedia?
operate in different ways and tell different kind of stories on this
platform.
[…] Interviewer - You're a storyteller and kind of a co-creator.
En lo relative a películas, también estuvo envuelto en la saga “Piratas del
Caribe”.
J.G. - Pirates of the Caribbean Example: Here you had something that was
kind of a surprise hit for the Walt Disney Company. And So as they
ramped up to the second and third movies, they needed to kind of... It
was so rich and dense this universe, almost kind of hard to understand
for the layperson. We had to go in and figure out who this Jack Sparrow
character really was and what his...
Interviewer - So you need to be kind of a psychologist...

6. 6
Al margen de los universos transmedia a los que ha ayudado a dar forma a partir de películas o video juegos, Jeff Gomez apunta que hay un trabajo mucho más allá, que implica
la inmersión de todo se equipo en el mundo de origen del future proyecto transmedia, para conocer hasta el ultimo detalle, afin de crear toda la mitología y lo que nosotros
conocemos con el nombre de “biblia transmedia”.
J.G. - We get to work with the heads of the studios, the directors of the films, the screewritters, and we're absorbing huge amounts of information. My company it's got ten peo-
ple that is their job to absorb everything about these amazing fantasy universes, and then document them in this massive mythology documents.
Mucho más allá, los entrevistadores se cuestionan si existen otros puntos de partida para dar a luz estos universos, como puede ser una imagen de marca, un juguete, etc.
Interviewer - And this is really applicable to lots of different industries as we move forward, and as technology branches off in different directions, and the way we communicate
branches off in different directions. How important is this message to other businesses when they're participating in other mediums to tell a story?
J.G. - That’s a superb observation brands and companies all over the world need to be communicated nowadays through narratives. Theage of the 30 second commercial or the
print add is kind of fading. We need to establish dialogue between our story worlds or our brands and people. Because everyone now is taking more broadcast.
Interviewer - That dialogue in that style they're developing in this area and they try to jam it onto another way of communicating.
J.G. - You can't just repeat things anymore. You have to customize your message and your narrative to the features that are the strongest on each media platform, whether it's
mobile or tablet, or the web, or social media.
Interviewer - I think costumers had grown smarter too, so this mythology becomes more and more important. I mean, when you're working with films we've discussed that,
video games... But how do you work with toys? How do you enrich that environment?
J.G. - It all falls down to the essence of the brand or the story world. My team goes in and asks thousands of questions of our clients, so that we understand what makes these
brands unique and distinct, and what story they're telling to the consumer. Once we understand that, we have kind of the bones upon which to flesh out the story. We've done
this with Coca-Cola and Happiness Factory, and all kinds of consumer brands.

7. 7
Interviewer - How can you work with Coca-Cola?
J.G. - Well, there' were this commercials, called a Factory Happines about these animated character who
were building a bottle of coca-cola. That was 30 second long, but Coke came to us and said what would the
universe be like with these characters? And how can we continue to... Because it was so popular, spread the
message of the happiness factory which is about innocence, and about deliciousness, and Coca-cola... But
also about adventure and the spirit of quests and make the world a happier place.
Haz click para ver el vídeo
El productor transmedia como guardián de la coherencia del universo NT
Como hemos podido aprender, a través de las palabra de Jeff y de los ejemplos que ha compartido con noso-
tros, una de las misiones del productor transmedia es recoger la historia matriz, estudiar todo lo relacionado
con el mundo que le da origen, y utilizar este conocimiento como la semilla para expandir un universo mu-
cho más enriquecido en el que, además, los usuarios tendrán un papel muy importante para su propagación.
Todo el saber se recopila en un documento, que conocemos como “biblia transmedia”, y al que Jeff se refie-
re como la “mitología”. Gracias a esta estructura podremos ir construyendo el nuevo universo evitando las
incoherencias.
Por ejemplo, sabremos qué le pasa a cada personaje y cuándo, y con quién se relacionaba, y seremos cons-
cientes de los vacíos en la historia que permiten un hueco suficiente para que los fans que lo deseen puedan
llenar la narración gracias a su propia imaginación. Tendremos un detalle de las localizaciones y los eventos
que se suceden.
Este conocimiento nos permite decidir cuál son los medios conductores y cuáles las plataformas de soporte,
y decidir la implementación del plan de actuación a largo plazo, proyectándonos hacia el futuro, con la tran-
quilidad de que aun con el pasar de los años, el universo seguirá manteniendo su sentido.
Ser el guardián que cohesione los medios y que consiga que la narración mantenga el espíritu y la coherencia
incluso a largo plazo, es una de las tareas vitales del productor transmedia.
VIDEO: The great Happification
VIDEO: Anuncio de Coca Cola Happiness Factory
WEB: Happiness Factory study material
WEB: Post Happiness Factory (includes art)
WEB: Psyop keeps us happy

8. 8
Resumiendo, ¿qué hace un productor transmedia?
Productor
transmedia
Vela por la inte-
gridad de la histo-
ria en las diferen-
tes plataformas
Cuida el diseño y
desarrollo de la
experiencia narra-
tiva
Planificación y
coordinación del
proyecto y el
equipo necesario
Los productores transmedia, pues, son expertos en explicar historias de manera activa, utilizando muchos medios y plataformas, para entretener, comunicar e informar a las
personas. Como creadores, conciben, escriben y transforman ideas creativas en proyectos que fluyen a través de diferentes plataformas a la vez, adaptando los productos a
cada medio. Como “directores de orquesta”, planifican, desarrollan, orquestan, garantizan y buscan financiación para el proyecto.
Ayudan al cliente
a identificar los
objetivos del pro-
yecto
Marca metas
alcanzables te-
niendo en cuenta
la cultura de con-
vergencia
Promueven la
interacción con
los fans y la au-
diencia
Cambios de plataformas
Call to action
Seguimiento crecimiento de la
comunidad de fans
Estimación del conocimiento de
la marca
Conocer su audiencia
Medir el riesgo
Prepararse para la incertidumbre
Entender la interacción con la

9. 9
El productor transmedia vela por el proyecto, porque como nos decía al final de su video: “Dare to change” (TED 2010):
“Transmedia can be used to mislead.
We can become isolated, we can become addicted, we can be lost in mundanity. The endless everyday. Trust me when I say this is possible, because I’ve experienced it myself.
Transmedia, within a few years can be read to seem to listen to you, and to offer you what you want, but really people, only human beings can give you what you need. We are
storytellers.
We have to tap our audiences into what I’m calling and you’ve been hearing references to this all day: the grand narrative. The grand narrative that forms those initial religions
that form the epic poems, and the great novels. The things that made us question who we are and go out in search of our very souls. We have to teach people to question reali-
ty. If I didn’t know during that first couple of years what love was, what nurturing was, what warmth was, I would have accepted the chaos as the norm. I would have been lost
in the endless everyday of the Baruch’s projects . Do you understand? I knew something was wrong, and I was able to dislodge myself from it, and become, well, successful in
that. I connected with a beautiful woman, and have a beautiful child, and I make a little bit of a living.
We have to teach people make those connections with other human beings, and we have to teach them to truly listen. We have to provide an architecture that allows peo-
ple to lift themselves from darkness and mundanity. That’s our jobs. I leave you with… I’m just imploring you: Keep me human. Keep me human with your work. Keep one
another human.”
ARTICULO: The perfect transmedia producer