Koral - online platform for videomakers by miriam saviano

Miriam Saviano supervisor Loredana Di Lucchio co-supervisor Ioannis Chatzigiannakis

KORAL Online Platform For Film makers

Corso di Laurea Magistrale in Product and Service Design a.a. 2020.21 Dipartimento PDTA Titolo: Koral Autore: Miriam Saviano Relatore: Loredana DiLucchio Relatore aggiunto: Ioannis Chatzigiannakis

INDICE

INTRODUCTION

PART ONE Discover 01 01.1 01.2 01.3 01.4 01.5

Strategy Design Design Thinking The New Normal Phigital Subscriptions Co-Creation

13 15 15 16 16 17

02 02.1 02.2

Film Industry: Studios Vs. Independent Distribution and Marketing Theatres Today

18 20 23

03 03.1 03.2 03.3

Video Production And Consumption Online YouTube TikTok Netflix

26 26 27 28

04 Conclusions

01 Itroduction

02 Interviews 02.1 Videomakers' Poin of View 02.2 Audience's Point of View

34 34 38

PART TWO Define

Empathy Map

04 Personas

User Journey

User Needs

PART THREE Ideate 01 01.1 01.2 01.3

PART FOUR Design

CONCLUSIONS

Service Requirements Functionality Usability Morphology

55 56 57 58

02 Storyboard

03 03.1 03.2 03.3 03.4 03.5 03.6 03.7 03.8 03.9

Service Description Users Contests Team Gallery Mix Network Job Listings Shortfilm Selection Projection Booths

62 63 64 64 65 65 65 65 66 66

04 04.1

Systematic Innovation Diagram Benchmarking

69 70

Business Model Canvas

01 01.1 01.2 01.3 01.4 01.5 01.6

Brand Identity Brand Personality Target Identity Name Logotype Logo Palette and Typography

76 76 76 76 77 78 79

02 02.1 02.2 02.3

Website Website Map Wireframe Interface Design

80 80 82 92

INTRODUCTION

This investigation stems from a personal interest: cinema. I wanted to use this project to work on a topic that is significant to me, but I also wanted to give myself a challenge by moving beyond the vision of films and into the world of film production that was new to me. As a student ready to finish my education and enter the world of work, I wanted to focus my attention on others in the same situation as me, thus I centered my project on students and young filmmakers who want to start making connections and entering the professional video production environment. The next pages will depict the research and development process used to arrive at the end product, which is my project for my thesis study: an online platform for young filmmakers. The initial phase in the research process was to conduct a wide analysis of the service environment, with a special emphasis on the strategic design component. Today, a service strategy is very significant since, if implemented from the start, it is capable of producing an original product that is centered on the target customer. The relationship with the new normal is straightforward from this argument: the market now is flooded with ideas, and what truly grabs attention is innovation, customer attention, and especially attention to the customer experience. Unlike the last decade, in these years of digital transformation, it is the physical and concrete component that remains etched in the mind of the customer. And it is this physicality that must be linked to digital services to create a phigital ecosystem that can fully satisfy the user experience. A further topic encountered during this first phase of the search for the new normality is the phenomenon of the subscription of which we will see examples of great success. At the heart of the success of the subscription strategy is also the cocreation aspect, which is also extremely important in the design of today’s services. The next step in the research path is to delve into the field of film production and understand how it works. It is necessary, however, to make a distinction between the high-level cinema of large production studios and independent cinema, and then get to the production at the amateur level. In order to fully understand the dynamics of this world, it is therefore necessary to draw a comparison between these sectors so distant from each other in terms of resources. In this phase, the needs of an amateur production that uses crowdfunding to be produced, of a production of an emerging professional director, and of a production of a box office film, will be compared. An overview of the situation of cinemas in recent years shows that despite the digitisation and increase in streaming services, viewers do not give up the experience of cinemas. Finally, in this study phase, the creation and consumption of internet video will be examined. In recent years, the advancement of mobile technology and its increasing accessibility has enabled the creation of a massive amount of multimedia material. These contents are increasingly being posted and shared on social media, where nearly all of the world's population now meets and connects. Filmmakers and content creators pour their ideas into social networks that allow people to share and consume the creations of others. Particularly popular sites such as Vimeo and Youtube, but also more contemporary social media platforms such as Tiktok, which has a rising user base. The business model canvas of these platforms will be studied to identify the points of innovation in their tactics. Netflix, the main exponent of online content consumption and the intermediary connection between film creation and online video consumption, also contributes to this research. The second section of this thesis is based on the project's main point of reference, the filmmakers. This chapter illustrates the outcomes of many surveys and personal interviews, extrapolating and analyzing the demands, pain points, habits, and desires of filmmakers and content creators. According to the statistics, film makers primarily require a location to establish a network of contacts, reach a larger audience, and enter the world of work. As a site primarily aimed at amateur content makers, attempting to produce feature films may be difficult; hence, the service's reference film medium is short films. Following that, the emphasis will move to the demographic that symbolizes the audience for these cinematic products. According to large-audience surveys, the majority of participants are interested in watching short films as a leisure activity. After gathering information from interested parties, the design phase begins, which involves using tools like as personas, empathy maps, and scenarios to explore and enhance the functionalities of the service so that they satisfy the demands of users. In the next chapters, the structure of the service will be comprehensively explained, describing the user categories, features, linkages inside the site, and the function of users inside and outside the platform.

This thesis project resulted in the creation of an online platform aimed towards students and young content producers who work in the sphere of video production, such as directors, screenwriters, sound designers, and so on. The site has multiple user categories that differentiate content providers, production studios, and businesses. Each of them serves a unique and intersecting role. Users will be able to post and react to job postings and collaborate using this service. They may design and participate in challenges, as well as in sponsored contests after forming a team. The latter's final products will be refined by production studios and distributed to the public via projection in dedicated cabins located in public spaces. Users will be able to share and access multimedia content, which they will be able to adapt and repurpose by exercising their creativity. All of these features will make it easier for users to engage and communicate with one another, allowing them to build a network of contacts.

PART ONE Discover

Conceptualization of how the goal can be achieved through research, design and implementation

STRATEGY

Through its ability to cope with uncertain and unstable contexts, to link up the small details and the big picture, and to understand the connection between quality of concept and quality of execution, the practice of strategic design is a promising capability in the face of the contemporary world

STRATEGIC DESIGN

Application of principles and practices of design thinking to help companies with communication, distribution and capture of value

BUSINESS DESIGN

CO-CREATION

Creative thinking combined with critical thinking to design products starting from the client

DESIGN THINKING

It's not about getting new customers, but keeping the existing ones and make them grow with time. Spotting the best client becomes crucial

SUBSCRIPTION New products often require consumers to change their behavior. Those behavior changes entail costs

CROWD FUNDING The way users access and experience the value is more crucial than the value itself

ADAPTATION TO NEW PRODUCTS

NEW NORMAL Physical element that conveys brand identity

PEOPLE + TECHNOLOGY = BUSINESS

PHYSICAL ECOSYSTEM

DIGITAL ECOSYSTEM

PACKAGING

Gives continuity to the experience of the user who transition from physical to digital area of the brand

PHYGITAL

CUSTOMER EXPERIENCE

Highlights users touchpoint and personas on wich the company has to work to offer the best possibe experience

CUSTOMER JOURNEY

01 STRATEGY DESIGN

The starting point of this research process is strategy design, and how methodology and planning can support in the design of a service tailored to the user, analyzing needs before they arise, and resulting in a winning product. Our society is changing at a fast pace, and the evidence is impossible to ignore. As a civilization, we shifted from a time when issues were relatively straightforward, understood, and self-contained to a time when they are complicated and intertwined. The difficulties of today require that we operate at the crossroads of several area of knowledge. Strategic Design focuses on multiple areas of expertise to explain the architecture of the problem, revealing major opportunities, when brought in early. First and foremost, strategy must be defined. A strategy is a concept, a plan, the overall vision that aspires to specific goals. A goal is an achievement that the company must attain. Strategy is the vision that ensures that all day-to-day activities (or tactics) contribute to the attainment of goals. Tactics are activities that are carried out in line with the goal's plan. To be effective, the objectives must be established, and the audience must be aware of who to approach. Strategy design is thus a management process that entails the use of futureoriented design concepts in order to improve an organization's innovative and competitive potential. Strategic design is a promising capacity in the face of the modern world because of its ability to cope with unpredictable and unstable environments, to connect the minute details and the broad picture, and to comprehend the relationship between quality of idea and quality of execution.This process can be appliad both to company development matters and to more universal problems. In facts, today's pressing issue is applying design ideas to "big picture" systemic difficulties such as health care, education, and climate change. It is frequently used in business development to strengthen product branding, product development, corporate identity, corporate branding, operational models, business models, and service delivery. Strategic design may be used to control risks by creating a structure that facilitates cooperation, creativity, and the development of a method to solve challenges in a meaningful way. It is associated with innovation, since it enables ideas to become real and profitable applications that can be efficiently managed, bought, utilized, and/or consumed by target audiences. Because of its human-centered approach, it develops meaning by successfully making the buyer comprehend the product and its value. Strategic decisions have a long-term influence on businesses, involve several stakeholders, and need the investment of resources. Through the use of three major themes, they reframe how challenges are treated, highlight chances for action, and aid in the delivery of more complete and robust solutions. 1.Integration: to provide an olistic point of view, emphasize the intricate network of relationships – between people, corporations, and objects. 2.Visualization: the use of visual representation to communicate complicated relationships that would be difficult to describe in text and mathematics. 3.Stewardship: to ensure that vital ideas retain their integrity throughout the creative process. Strategic design provides a mechanism for businesses to differentiate their goods and services from the competition by analyzing external and internal trends and data, allowing design decisions to be made based on facts rather than aesthetics or intuition. This procedure is divided into three steps: desirability refers to the degree to which the project meets people's needs and requests; applicability refers to giving the strategic result a tangible and solid form in the present or in the foreseeable future using current resources; and feasibility refers to whether the strategic result can be successfully applied to the company and generate value. It is possible to study how strategic designers tackled a specific issue to provide some instances of how strategic designers work. Fitch Design's John Rheinfrank demonstrated to Kodak that their disposable cameras were not designed to replace regular cameras, but rather to satisfy special demands such as weddings, underwater photography, and others. As a result, he defined the most crucial questions that a company's goods and services should answer. Apple Inc. put out the iPod+iTunes ecosystem gradually over time, rather than introducing all of its elements at once, prioritizing the order in which a portfolio of products and services should be offered. In the following page are some additional instances of how recurrent and reproducible patterns in strategy design frequently define a company's success more than the product or service itself.

Nespresso product integration created a wide ecosystem to interact with.

Ryanair has broken down its offer by allowing people to buy only what is necessary or desired and thereby lowering the cost of flights.

Ikea has placed the customer at the center of the production process, thus enhancing its offer and differentiating itself.

Starbucks has broken every logic making environment and experience protagonists of their offer instead of coffee, the product.

Daggiù supports mothers and fathers who have always eased the distance of children who live and work in the north by sending products of the territory.

The Gin Way responds to gin lovers with an exclusive selection sent out every month.

01.1 DESIGN THINKING

Strategic design may also be used to understand design thinking. Design thinking is a method of developing products based on the needs of the consumer and what is important to them. Because it is founded on the mix of creative thought, which is the act of questioning (what if? why not?) and critical thinking (what? why? how? ), this approach produces ideas and solutions that are incredibly customized and not reproducible. Design thinking is a true change catalyst in businesses, since it is required for the creation of value in order to translate the multitude of technology and information accessible today into genuine value for consumers. It is also required for organizational transformation and the inclusion of individuals in a large-scale change process. Design thinking is what brings new and unique products to the market. Companies who successfully offer new goods are more likely to thrive in today's hypercompetitive market than those that do not, although the process of conception is not always successful. According to studies, new products fail at a startling rate ranging from 40% to 90%, depending on the sector. Many goods fail due of a common, yet generally unnoticed, psychological bias: people mistakenly overestimate the benefits they already have in comparison to others who do not. Prejudice cause customers to weigh the advantages of older items against the advantages of newer ones. Furthermore, it leads managers to evaluate the advantages of the innovations they have made in comparison to the benefits of previous goods. In reality, new items frequently need a shift in customer behavior. Companies are well aware that such behavioral changes come at a cost: the activation cost for switching from one service provider to another is an example of a transaction cost; learning cost is shifting from manual to automatic automotive transmissions; and obsolescence cost occurs when switching from video recorders to DVD players, as video cassette collections become obsolete. The costs that are usually not taken into account are the psychological costs associated with changing behavior.

01.2 NEW NORMAL

Companies that wish to be creative require new ideas and perspectives. This is the new normal in a world where technological opportunities are flooding society at an unprecedented rate, a world flooded with information, a "flat world" [Roberto Verganti] where knowledge and skills are universally distributed and value can be disaggregated, delivered, and distributed anywhere on the planet. Yet, at this time of transition, the difficulty of digital transformation is not "digital," but "transformation", which must begin with people. Organizational change necessitates a shift in mindset as well as a process that involves everyone. Society is increasingly operating 'pre-factually.' In such circumstances, analyzing current choices may not give the required insights needed to respond successfully since the problem has never been addressed before and the facts may not yet exist. In today's fast changing world, goods and services must not only anticipate, but also drive change. Whereas conventional logic seeks to answer the question "why is this product different?" modern logic seeks to answer the question "what does the consumer truly desire and how can we meet our promises?". This form of innovation must capture the potential value of technical innovation rather than just research and development. We have previously seen from service design that the need to shift behavioral habits is critical. "From the "6-foot distance" to contactless / touch-less policies in crowded spaces such as supermarkets, theaters and museums will become the norm."[Mirco Pasqualini] The digital products and services sector will continue its rapid expansion, diversifying and integrating previously identified demands as a result of increased attention and awareness. People are now accustomed to just getting what they require and only when they require it. However, more than the value supplied, the manner in which the content is accessible and experienced becomes increasingly important. The study of the customer journey is critical in this field. In today's environment, service excellence and product quality are no longer enough to attract and keep customers. Companies must provide a one-of-a-kin and rewarding consumer experience. the customer's journey chronologically defines the route that a client follows during the usage of a service, beginning with knowledge and ending with use; emphasizes touchpoints and the persons with whom the user interacts; describes the impact on increased sales, customer happiness and loyalty, reputation, and brand image. Companies may use this tool to learn what influences the overall consumer experience and relationship with the brand, whether in a favorable or bad way. The design of the customer's experience incorporates elements that are directly or indirectly connected to how customers live and evolve as a result of their experiences. Customer journey and experience may be distinct, yet they are 15

both necessary for designing a great consumer experience. Companies should no longer assess customer satisfaction, but rather the intensity of recall and pleasure that will produce the brand experience, differentiating their products, and developing a strong relationship with their consumers.

01.3 PHIGITAL

Packaging is now more than ever a crucial component of the service experience. At the present, the physicality we require as a sense of belonging to a brand is packaging. It has evolved into a medium of communication and information exchange. Indeed, packaging is one of the few items that enters people's homes or offices, communicates a story, and can be touched. It is a bodily presence at the service of both protection and communication. Packaging is the brand's hand extended to consumers in order to assist them through the process of selection, purchase, or after-sales, and it can influence the ultimate decision on the brand. Packaging, on a broader scale, is one of the components of the phigital system that businesses should implement today. It symbolizes the physical environment in the equation, which is complemented by the digital ecosystem. The phigital world is a context of integrated consumer access points created by companies between different physical (offline) and digital (online) channels so that customers can easily move from one to the other while maintaining consistency in the experiential path from physical to digital and vice versa.

01.4 SUBSCRIPTION

Netflix, Amazon, Google, Microsoft, Adobe, Apple, and Spotify were among the first to embrace a value logic based on time and customer development. For a long time, the big challenge was convincing people that the brand was the best choice; now it's a matter of proving it and being able to do it over time and through the growing or changing of the customer's expectations and needs: this is the end of traditional competitive advantage and the beginning of competitive advantage in time. Subscription is a new means of selling and buying, a new way of accessing items and services, and a new economic structure that adjusts to changing circumstances. The client benefits from the knowledge that the company follows its promises and satisfies expectations; otherwise, the service is abandoned. People are and will be less interested in possessing items and more interested in being able to utilize them with enjoyment. According to Mckinsey, the subscription economy has risen at a rate of more than 100% each year over the previous five years, and the two-year economy index of Zuora subscriptions stresses that subscription firms are expanding at a rate five times faster than competitors' revenues. As a result, for businesses, it is no more a matter of being able to gain a client, but of being able to maintain it and develop it over time. However, because not all customers are equalbuilt the same way, selecting the ideal consumers becomes critical. It is now obvious that expectations and requirements are established by distinct issues identified by each individual person in a given environment and time, rather than by demographic criteria or the traditional logic of target. And that all of this is subject to change over time. There are many degrees of service accessibility: the consumer can personalize the development and delivery of the product themself. Tien Tzuo, a famous subscription economy analyst, believes that "the widespread expectation is that any information or service will be available in any context and at the time of need. People no longer want a car but a ride. They want milk, not cow." Companies must thus consider what the main challenges are in satisfying customers: What's the issue with this individual? What exactly is their challenge? Is it something exceptional and temporary, or is it something that will define it in the future? Despite the challenges related to subscription and customer satisfaction, the profit of companies exists and is valuable: it is in fact five times easier to keep a customer than to acquire a new one and, on average, 80% of corporate revenues are represented by 20% of loyal customers. Furthermore, the co-creation component should not be overlooked. With the prospect of long-term partnerships, it is possible to utilize data to discover the most rewarding methods to generate and share value, to build actual communities in which consumers are also creators of products and services through feedback and an equal degree of value creation. 16

01.5 CO-CREATION

The profound social, economic, and technological changes facilitated by increasingly informed consumers have reduced the distances between them and producers by forcing businesses to rethink their approach to the market and value creation by shifting critical expertise from production to relationship through the tool of co-creation. Companies have long collaborated with their business partners to address common difficulties and develop possibilities In recent years, the emphasis on co-creation has grown even more because the clear separation of the roles of producer and consumer is no longer appropriate, viewing this path as an essential tool capable of evolving its organizational model and, in some cases, becoming determining for the differentiation of the product's conception. This has enabled the identification of the "finished product" expected by consumers from the start, lowering the expenses of later revisions, loss of market share, or time shift of the same. At the same time, in the eyes of the customers, this attitude appears innovative due to the dualism of the enterprise's activity core, which is divided between improving the functional performances of the product and creating meaningful experiences capable of generating emotions, participation, and involvement. According to Mirco Pasqualini, in a co-creation setting, there is also a rising interest in specialization as shared-product design, where renting and sharing become less expensive than purchasing. Aside from that, how to design items for multiple owners will be a focus topic very soon.

02 FILM INDUSTRY Studios VS Independent

Because this research focuses on film and video production at all levels of competency, it is now important to study and comprehend the workings of the film industry. How it acts at huge production studio levels and how it operates at amateur and independent production levels. The United States is the world's top market and producer of film. It is frequently referred to as Hollywood, and it has had a significant impact on the world's film industry, particularly in the twentieth century. As a result, it may be regarded as the global standard for the high-level film industry. Born in 1894 as a result of Thomas Edison's screenings, American cinema production shifted to big costs as the popularity of the pictures grew. It is sufficient to consider the expense of a movie box office to get an idea of how high the standards are.

BIG PRODUCTIONS VALUE CHAIN

INDEPENDENT CINEMA HISTORY

However, film has always been a pillar of creativity and passion, which is why independent projects continue to be formed and expand in quantity. Amateur cinema is not only a launching pad for large productions, but it is also a gallery of works that may not appeal to the general audience but convey the creators' thoughts and desires. To demonstrate how high-level film production is unreachable to most filmmakers, the value chain of cinema production is shown below, which demonstrates how many steps, how many employees, and how much resources are required for the development of a film. Compared, the independent cinema history.

Distribution and marketing are also important aspects of cimematographic production. There are clear distinctions between film studios and independent cinema in this regard as well. A comparison of distribution statistics in Italy for a high-budget picture, a film by a rising filmmaker, and an amateur film is shown below.

02.1 DISTRIBUTION & MARKETING

"Against Reason - Short Film"

Canadian short movie | Global marketing | amateur filmmaker

Raising goal: 6.400$ Reached amount: 8.271$ Tiers: 45 Tier 1 (20$) reward: •

personal thank you email free digital access to the short film upon release

Tier 2 (50$) reward: • • 6,3% 6,3%

12,5%

personal thank you email free digital access to the short film upon release name in the credits

Tier 3 (100$) reward: • • •

personal thank you email free digital access to the short film upon release name in the credits PDF of the movie script

Tier 4 (500$) reward: 35,4%

39,6%

• • • •

personal thank you email free digital access to the short film upon release name in the credits PDF of the movie script Headshot session

Tier 4 (500$) reward: Tier1 (20$)

Tier2 (50$)

Tier4 (500$)

Tier3 (100$)

Tier5 (1000$)

• • • • • •

personal thank you email free digital access to the short film upon release name in the credits PDF of the movie script Headshot session Executive producer credits

Sponsorship opportunities: • •

Beer company: opportunity to have the product placed in a central scene of the movie Dating app: opportunity to have the product appear in central scene of the movie

Author's declaration:

It can be difficult to find funding for first time filmmakers like myself. Most grants require a specific narrative or criteria to receive funding. Against Reason doesn't fit into those criteria. Our financial goal is to match my own initial investment. The contributions here will literally be the fuel that this projects runs off of. There are fees for things like shooting permits, locations, equipment rentals, on screen talent rates, even simple things like craft services and festival submissions. Every dollar helps, and all contributions big or small are so appreciated. Thanks for taking the time to read this far.

"La mafia uccide solo d'estate"

Italian movie | marketing in Italy | up-and-coming director

Total Marketing Budget: 100.000€ •

No budget for SEM(Search Engine Marketing): traditional media are not included in marketing action

•

Precise YouTube campaign targeting topics similar to the ones in the movie, using pre-roll as format (15/30 sec adv at the beginning of other videos)

•

Trailer spread through video-seeding (though influencers, blogs, platform with similar topics etc)

•

Social buzz and channel animation was assigned to an external agency

•

The budget dedicated to facebook was devoted to promote the trailer to targeted (non-targeted excluded since the fanbase of the director and the production studio are active enough)

Facebook campaign content guidelines: • raise interest in Pierfrancesco Diliberto's (aka Pif) film debut • Post focused on the director to involve users interested in his work • Post focused on actors/characters taking advantage of their fanbase • Post of movie scenes and quotes • Post of positive critics and articles

raise interaction: • #chiediaPif (ask Pif): ask users to interact with questions for the director. At the end of this phase, the director answers the most funny and interesting questions in a video •

#aiutaPif (help Pif): ask users to post and share a 30sec video mentioning the movie. The best ones are shared by the director on his official profiles.

"Sin City 3D: A dame to klill for"

American movie | marketing in Italy | all-star cast & directors

Television: • • • • • • •

• • • • • • •

strong TV campaign teasers during FIFA World Cup ads in mainstream TV channels and popular TV programs Sport Channels to reach core-target

Newspapers:

strong sport newspaper ad campaign covers and articles on Gazzetta dello spart and Corriere dello sport

Web:

italian sport websites corrieredellosport.it and gazzetta.it italian cinema websites Bad Taste and Coming Soon preroll on Mediaset website

Radio:

Radio Deejay, top radio on young adult population Radio 101, Radio Kiss Kiss, M20, Radio Capital

In-theatre:

trailers befor major blockbusters movies display material in main theatres

Other marketing solutions Sponsorship with Unione Calcio Sampdoria soccer team: • • •

movie is the official temporary sponsor of the team for three important matches. visibility online and offline: coverage on newspapers and magazines, international and national websites very strong activity on social media official pages of team and movie

Partnership with Magic Press, Italian editor of director Frank Miller's graphic novel: • •

posters and cutouts of the films in over 200 comic stores graphic novel giveaways and promotion

Collaboration with Cioè, Italian magazine for teenagers: • •

articles about movie and actors posters of movie and actors

Partnership with IED(European Institute of Design): •

creation of Italian site of the film as final academic work

Other collaborations: • • • •

Mtvitalia.com Radio DeeJay Euronics ScuolaZOO

Huge premiere of the film in Rome: • •

over 1000 fans directors Frank Miller and Robert Rodriguez introduction to the film signature of comic books and DVDs

Preview screening at Romics: •

free entrance for 200 visitors giveaway of promotional materials

02.2 THEATRES TODAY

DolbyCinema and NowSourcing conducted an insightful analysis on the status of the movie theater industry in recent years. They examined the many components that can provide a complete picture of the situation. The research is here reported, with some comments added.

In Italy primary target: young beween 8/10 - 24 years old (more than 70% of the

theatre audience) Preferences: Multiplex, action/sci-fi/horror movies (basically Blockbusters), visual effects

• •

Social Media Influence

users can interact with their friends just as easily as they can interact with the film studios themselves movie and media discussions, and of course arguments, are a staple of online interaction

With any movie at our fingertips, thanks to the internet, movie theaters have been forced to revamp their own experience and offer its guests a taste of luxury that just can’t be found at home. From fully stocked bars to reclining captain’s chairs, going to the movies can start to feel like flying first class.

Social media is turning into a more powerful tool for film hype. Critics and viewers alike made certain that mMany of the films created during this era remain some of the most popular movies of all time. In fact, six out of the ten top grossing movies of all time came out in the last five years.

Immersive theater tech is the new norm from scientifically curated surround sound systems to maximize the audio, to laser screen projection that brings films on the big screen to life more than any home tv screen could.

03 VIDEO PRODUCTION & CONSUMPTION ONLINE

03.1 YOUTUBE

To broaden the discourse of film production to video production, which does not stray too far from amateur film production, study naturally extends to internet platforms. YouTube and Vimeo are unquestionably the most popular sites for sharing and viewing video content. The investigation will concentrate on Youtube in particular, as it is the most well-known and widely utilized service of the two. However, in recent years, the social network Tiktok has gained popularity among the young and not-so-young, giving a platform for amateur and professional video creators alike. These internet platforms' strategy and offerings differ substantially, yet both are the product of significant influence and innovation. A comparison of the business model canvas of Youtube and Tiktok is presented below in order to visualize similarities and differences in their frameworks.

in 2015, YouTube enabled 360° videos which can be viewed from Google Cardboard, a virtual reality system, but also from all other virtual reality headsets. Live streaming of 360° video at up to 4K resolution is also supported

the algorithm makes it easy to find videos and it suggests similar videos to watch next

music videos, video clips, short and documentary films, audio recordings, movie trailers, live streams, and video blogs

YouTube and selected creators earn advertising revenue from Google's AdSense program

ads are placed exactly where they should be, great value for advertisers

The vast majority of videos are free to view, but some require a music or premium subscription.

the algorithm makes it easy to find videos and it suggests similar videos to watch next

Google tracks user actions on Youtube and sells info to advertisers

registered users can comment on videos, rate them, create playlists, and subscribe to other users.

anyone can watch videos on YouTube, no need for account for basic use

03.2 TIKTOK

number of followers doesn't change the experience

videos with few views are tested and if get likes they are shown to bigger audience.

creators can join trends and challenges to produce videos. This makes it very easy to create content

"When I was a product manager at Facebook and Instagram, building a true contentfirst social network was the holy grail. We never figured it out. Yet somehow TikTok has cracked the nut and leapfrogged everyone else." - Eric Bahn, former product managere at IG

DIFFERS FROM YOUTUBE: on YT a certain audience is needed to have own videos in recommended section. TT mixes popular videos with unpopular ones

DIFFERS FROM INSTAGRAM: on IG people post polished version of their lives, while TT creators don't take themselves siriously and post their real selves with flaws. viewers relate to them

ByteDance (AI company) created a powerful algorythm that shows only the content the user would like. The more is used, the more it gets precise.

"you float in your own bubble of content" DIFFERS FROM NETFLIX: not a recommended selection to choose from, but a unique and continuous flow of content

WHAT MAKES TIK TOK A SUCCESS? CONTENT NETWORK EFFECT: creators can repurpose other creators audios ("audio memes") and content, snowballing into an infinite amount of videos. 100% CONTENT NETWORK

- CREATIVE FUND: TT hires content creators to post a given number of videos per month. pay in adv credits - CREATOR FUND: small income based on views. Money can be redeeemed when 50dollars are reached (users noticed a slight drop in views when joined the program) - PRODUCT PLACEMENT: companies offers free product for advs

users can buy virtual currency to tip creators or buy products

to exit the app, it is necessary to press the button twice. at the first tap the page will be refreshed with new videos

offers the virtual chance to anyone to be discovered and become viral

the app was made popular by teenagers, that made it the new trend so older users joined

possibility to reach the younger generations, hard to involve

Having previously examined the social media platforms that host the consumption of online video material, it is also arguable that streaming services provide a fair middle ground between the creation of online video and the production of high-budget films previously discussed. In particular, Netflix's business model canvas, one of the leading suppliers of this sort of service that stands out for its exceptional capacity to adapt and develop, will be examined below.

03.3 NETFLIX

VERTICAL INTEGRATION: company owns several parts of its value chain (production + broadcasting)

algorithm that suggests content the user will like.

innovation compared to the traditional renting services

started as DVD rental business inspired by Amazon selling books online

traditional TV's weekly releases are necessary to mantain a habit and place adv, but Netflix doesn't rely on adv and let users bingewatch shows without interruptions

in 2007 they were offering both streaming and home delivery services, so when the use of DVD went down they were already offering solid streaming alternative

video delivered directly online although the internet speed was too slow for HD first streaming platform to make content available on all devices

started off badly but in 2002 subscriptions raised and the company went pubblic

04 CONCLUSIONS

At this point, it is necessary to take a step back in order to gain an overview of the information gathered thus far and in the research section. Indeed, the three research fields—strategic design, video production and consumption, and film industry—show evident connections between different topics. The map in the following page clearly shows how Netflix's service is a good example of a successful strategy as well as an example of how a subscription can improve a service. The combination of these characteristics incorporates Netflix and other subscription streaming services in the new normal, as the service has attained such a high level accessibility that it is used by a very large number of consumers. Similarly, tiktok is part of the "new normal" that many users, primarily the young but not exclusively, are adopting, as are brands, companies, and celebrities. What makes Tiktok so impactful is undoubtedly the design thinking process, in which a service is designed from the customer's perspective, combining creativity and criticism. The app's undeniable strength is the aspect of co-creation, which allows users to express their opinions, respond to other users, and be inspired by the material on the app to create anew without limits to creativity. It is precisely the ability of co-creation to catalyze creativity and cooperation among users that makes this aspect one of the research's focal points. There is no doubt that cooperation is essential in certain fields, including film production. Each member of the team is a link in the production chain that leads to the finished product. Furthermore, the exchange of ideas and opinions is what makes a product accurate, well-researched, and especially relatable. Crowd funding, which is closely related to co-creation, is the second point worth mentioning. It is also based on cooperation, but this time on a financial basis. As previously stated, one of the most pressing issues in the production of independent films is the difficulty in raising funds for their projects. Crowd funding enlists the help of people who are not involved in the production process, asking for money in exchange for small perks or simply for the sake of the project itself. This service is frequently used in independent filmmaking. Without a doubt, another critical factor to consider is the phigital aspect. Until yesterday, innovation was focused on digitizing all services as a sign of the future and convenience. Today, however, the trend is shifting because, as humans, we recognize the value of the physicality of our surroundings, including services and products. This does not imply completely removing the digital component from the equation, but rather finding the right symbiotic relationship between the physical and the digital, between comfort and closeness, between lightness and concreteness. This aspect must unquestionably be applied to the world of video production, which is the primary aspect to consider in this research, as video makers are the service's target audience. To summarize this research, it is necessary to extrapolate the fundamental questions to investigate: 1- Phigital aspect in cinema environment. Is there a way to maintain a physical aspect - for instance, the movie theater experience - while also joining the innovative path that technology is creating? 2- Movie production for young filmmakers. How to assist amateur and independent filmmakers, as well as film production in general, in breaking down the budget and promotion barriers, the two biggest obstacles? 2.1- Combine cinema and social media. Movie theaters and streaming platforms are the primary destinations for high-quality films, but they are inaccessible to independent filmmakers, whereas social networks such as YouTube and Tiktok are populated and animated by young creatives, but the possibilities are limited. 3- Co-creation is at the heart of successful strategies and businesses. Is there a way to take co-creation in film production to the next level? (aside from crowd funding)

Conceptualization of how the goal can be achieved through research, design and implementation

STRATEGY STRATEGIC DESIGN

Application of principles and practices of design thinking to help companies with communication, distribution and capture of value

TIKTOK NETFLIX CO-CREATION

Creative thinking combined with critical thinking to design products starting from the client

It's not about getting new customers, but keeping the existing ones and make them grow with time. Spotting the best client becomes crucial

DESIGN THINKING

SUBSCRIPTION

BUSINESS DESIGN

New products often require consumers to change their behavior. Those behavior changes entail costs

CROWD FUNDING The way users access and experience the value is more crucial than the value itself

ADAPTATION TO NEW PRODUCTS

NEW NORMAL Physical element that conveys brand identity

PEOPLE + TECHNOLOGY = BUSINESS

PACKAGING

YOUTUBE

CUSTOMER EXPERIENCE

FILM PRODUCTION

PHYSICAL ECOSYSTEM

DIGITAL ECOSYSTEM

Gives continuity to the experience of the user who transition from physical to digital area of the brand

PHYGITAL

Highlights users touchpoint and personas on wich the company has to work to offer the best possibe experience

CUSTOMER JOURNEY

PART TWO Define

01 INTRODUCTION

Now that the crucial questions are posed, it is necessary to find possible answers. The next step in the design process is the discovery: how to create a good and useful product? To do so, it is required to know and deeply understand the users of the final product. The target for this project will undoubtedly be video makers. But to highlight the real and pressing needs of this category, it is necessary to analyze the problems that emerged in the research process and present them to the target users. As previously shown, one of the issues to solve is how to implement the phigital aspect of video production. The latter is itself a digital process, so the remaining issue is the physical side. During the research process, it was clear that movie theatres are partially affected by the raising of streaming services, but at the same time, they remain providers of a unique experience that cannot be compared to what online streaming can offer. Therefore, movie projections can be taken into consideration for this matter. This, however, leads to the possible inclusion of a new user category, that is the audience. A second question to consider is how amateur and independent film-makers experience the work environment and how this service can provide them with the help they need to reach producers and recruiters. Young and amateur creatives have the ability and the freshness to produce a wide variety of content, but they usually lack the budget or the contacts to reach a higher level of production. So, the consequent question is: where to provide this service? This leads to the need to design a platform that acts as a link between big movie productions and the numerous low-quality video content found on social media. Finally, the third and last topic worth examining in the research process is the co-creation aspect. We learned that co-creation is the basis of the most successful strategies. Let it suffice to think of the many ideas brought to life thanks to crowdfunding. But how to apply it to film production? How to adapt it to an online platform? To find answers to all these issues,it is compulsory to ask the parties concerned: the video makers.

02 INTERVIEWS

Video makers are the first and more important category to get in the headspace of, in order to understand their necessities, opinions and point of view. All participants responded to an online appeal or were presented by acquaintances who came in contact with it. A sample of them was subjected to Q&A interviews and online surveys, of which the results are reported below.

02.1 VIDEO MAKERS' POINT OF VIEW

Q: How do you identify yourself? Q: How old are you?

1 2

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Q: Do you identify in the following categories?

One of the purposes of this question is to highlight a possible connection between the work of a video maker and a passion for cinema. Indeed, most of the participants expressed a strong interest in movies. This graph also shows the high usage of social media for video consumption purposes. Q: How often do you use the following media to watch movies?

In view of the high interest in watching films, the above question seeks to establish which medium is the most widely used in this respect. As the chart shows, participants are not willing to spend a substantial amount of money on purchase or rental, but are likely to invest in a subscription to streaming platforms. Nevertheless, the experience offered by cinemas remains popular.

Q: Which aspects of your working process would you like to implement / make easier or faster?

This data collection highlights the difficulties that video makers face in their work process. In particular, it is noted that reaching a broad audience is a shared desire of most survey participants. the following pain points are the creation of an appropriate network of useful contacts and the lack of funds to dedicate to projects. Finally, it is necessary for respondents to find inspiration to feed the creative process.

Q: Where do you usually share your content? Q: How much time per day do you spend on the following platforms?

Q: What would you implement / change / add to the platforms you use for your content? Q: Which features do you find useful in the platforms you use for your content? IMPROVE videos in backgound

content/ registration by age group

old post editing

cross posting

clear terms of service

USEFUL

monetization parameters

surveys/ open questions/ livestream (interaction)

customization

notifications

quality control

more interactive chat

recruiter/ freelancers feedback

recommendation algorythm

analytics management

chapter markers

loyal community subtitles

video compression

curriculum vitae

video preview before posting

In addition to knowing where they share their content, knowing the social media most used by video makers is essential for the design of a platform useful to them. But is even more significant to take note the strenghts and weaknesses of these services, to create an even more useful one.

Are now clear the key points on which to focus to give video makers a useful service tailored to their needs. The next step is to analyze and combine all the collected data to generate a concept. One of the fundamental points previously noted is the expansion of the field of video making into a phigital shape, of which the physical part is missing. Given the leaning of respondents towards a passion for cinema and film screenings, it would be a fitting solution to adopt projection booths as a physical element. Now, a clarification must be made. On a practical level it would be extremely complex to aim at the creation of feature films. Consider not only the economic aspect and the amount of time needed to create a film, but also and above all the fact that this service primarily aims at amateur or novice video makers. the resulting solution is therefore to focus on the production of short films. In order to confirm or reject this hypothesis, it is necessary to propose a questionnaire to a second category of users that is formed in this scenario: the audience. Being a wider and more general rage of target, the partecipation to this survey is way higher and varied.

02.2 AUDIENCE'S POINT OF VIEW

Q: How old are you?

This survey has been proposed both in Italian and in English. Based on this piece of information, it is possible to define a percentage of Italian and non-Italian partecipants.

Q: Do you consider yourself a film enthusiast?

Q: How many people do you usually go to the movies with?

Q: Would you watch a shortfilm at the cinema? Q: If you had the chance, would you consider watching shortfilm in public spaces?

From the data displayed in this graph, it is possible to assume that partecipants are not enthusiasts to consume shortfilms projected in a cinema theatre. On the other hand, they consider an interesting experience to watch a shortfilm in public spaces. Q: In which of the following locations would you watch a shortfilm?

The participants were given the chance to select one or more hypothetical spaces in which it would be interesting for them to watch a short film. They also had the chance to add their own proposals. The resulting ideas are mostly public spaces such as parks and public transport.

Q: How often do you go to the movies? Q: How often would you watch a shortmovie in a public space?

By comparing the answers to these two questions, it appears that participants are willing to watch short films as often as, if not more often than, films at the cinema.

Q: What is the ideal length of a short film for you?

03 EMPATHY MAP

The next step in designing an optimal service for the needs of video makers is the creation of an empathy map. The latter is a way to gather the thoughts, feelings, and needs of the target audience by extrapolating information from the interviews. In this way, it is also possible to highlight goals and pain points to be processed in order to delineate an optimal service.

THINK & FEEL I have quite varied knowledge

I’m even more competent [about films]

my experience is mostly theoretical

I must say that it is a bit difficult work to manage, because it is not at all safe, especially at the beginning

Not having time is simply because I do a lot of stuff

I’m practically starting to understand a little bit of how it works outside of the university

SEE

Recently the video essay is very popular, [...] mostly on Youtube

some of my colleagues use them although I don’t know exactly which [online portfolio sites]

PAIN POINTS Before [I used to share content on social media], now I don’t have time to do it on a regular basis

One [short] among other things sent to a festival that we have not won

For now, I’m still studying and I did not jump into the workplace, so for the practical I can not give much info.

I must say that it is a bit difficult work to manage, because it is not at all safe, especially at the beginning

SAY & DO

I graduated from a three-year course in performing arts and therefore I studied cinema subjects

I have not yet worked in the field but I study these things [cinema and production]

I mainly work in video editing

We gradually gained followers thanks to Instagram, and people contacted us, especially from there. But sometimes it also happens through the website. I work in a team of 6 people and each has a different role

it can happen that [customers] ask for different things every time, but mainly they ask for video clips, commercials and occasionally weddings

Sony Vegas, Premiere, and After Effects are among the programs I am familiar with.

Work-wise I think I’m more into writing but I love editing videos! And I learned to do it myself [I share my content] essentially on social media

I write scripts

[I use] Youtube generally

[I use] Instagram to "promote" [contents]

[I happened] to make a video essay (even if in group)

We started [as a production] finding contacts from friends

[I use video editing programs] a bit for study (self-taught) and then for hobby although a couple of times I was asked for work

I have some experience in video editing

I’m a first year master’s student, in the field of cinema

I happened to shoot some scenes for a friend’s Youtube show

I study engineering, work and I devote myself to various secondary projects I post a lot more on Instagram than on Youtube, actually

we made a couple of short films on our own

I specialize in the most productive aspect of the show, cinema in particular [...], as well as scriptwriting.

GAIN [I wanted] to create an art site, where every artist, of any age, could insert their resume and their experience. Sharing their works also to be known. Do it for cinema, theater, music, dance

create something in support of artists, not only for personal satisfaction but just as incentive also in the academic/ working world

we would like to start making some short video review

04 PERSONAS

Based on the information taken from the interviews, it is now possible to derive some personas. The target categories that could be useful in this process are students and/or amateur video makers, video production studios, brands and companies. Creating characters in each of these categories will be essential to understand the point of view and identify with their needs and behaviour.

04.1 PERSONA #1

Jim H. AGE: 34 years old OCCUPATION: Sound designer LOCATION: Scotland STATUS: Single

Jim is a full-time Sound designer. He is part of an affirmed production studio that gave him the opportunity to collaborate with many important brands and companies. But sometimes he likes to carry on his own projects to experiment and express his personal style, which can get lost while working for big companies.

GOALS:

to find new ways to express his personal style and experiment on his own.

MOTIVATIONS:

to continue learning in the field of sound design; to always be better at his job; to continue fueling his passion for sound design.

FRUSTRATIONS:

constraints imposed by work projects, colleagues, and clients; lack of time to devote to personal projects.

TECHNOLOGY COMPETENCE CONTACTS FREE TIME

SOCIAL MEDIA USED

TIME MANAGEMENT: |

afternoon

work

Week days

Weekend

morning

social life

morning

afternoon

side projects

personal life

evening

side projects

evening

social life

04.2 PERSONA #2

Anna P. AGE: 23 years old OCCUPATION: Student LOCATION: Italy STATUS: Single

University student, Anna graduated in cinema history and is now specializing in screenwriting and editing. She wants to start working as a freelance video editor to improve her skills and start interacting with the work field.

GOALS:

to learn about and gain experience in the workplace environment.

MOTIVATIONS:

be prepared to work outside the university environment; gain confidence in her skills.

FRUSTRATIONS:

a lot of theoretical knowledge but little practical knowledge about the workplace; lack of experience.

TECHNOLOGY COMPETENCE CONTACTS FREE TIME

SOCIAL MEDIA USED

TIME MANAGEMENT: |

afternoon

university

Week days

Weekend

morning

personal life

morning

personal life

afternoon

study

social life

evening

social life

evening

04.3 PERSONA #3

Thomas K. AGE: 47 years old OCCUPATION: Law Teacher in University LOCATION: Sweden STATUS: Married, two kids

Thomas is a Law techer in high school. He loves his job, and he thinks that being a good techer means devoting a lot of time preparing material and helping the students. But this time has to be taken away from his personal life, and leaves less time to spend with family and friends. Despite this, he makes a point of spending at least one day a week with his wife and two children.

GOALS: MOTIVATIONS: FRUSTRATIONS:

To maintain a balance between his job and his family, both very important to him. Spend quality time with his family; Find fun and entertaining activities. Sometimes it's hard to take his head outside of work.

TECHNOLOGY COMPETENCE CONTACTS FREE TIME

SOCIAL MEDIA USED

TIME MANAGEMENT: |

Week days

work

Weekend

morning

afternoon

work from home

morning

afternoon

personal life

evening

personal life

evening

social life

05 USER JOURNEY 05.1 PERSONA #1

Jim, 34, sound designer GOALS: practice his personal style, unbothered by the work constraints; find inspiration to exercise and keep up with new techniques PAIN POINTS: rules and constrictions of the work environment, having to follow the clients' directions; the work process is mostly the same everyday, no source of inspiration

BEFORE

ACTIONS

decide to exercise his skills and try new techniques

computer

TOUCH POINTS

DURING

looks for random inspiration on different platsforms

finds a sound effect he likes

AFTER finds the right tutorial

looks for tutorials to recreate that sound

video1 Youtube

forum community chat

video2 Youtube

video4 Vimeo sound design software

forum community chat video3 Youtube video3 Youtube

MOOD

PAIN POINTS

lot of time wasted to look for inspiration

hard to find the right tutorial

create a unique space for challenges and inspirations

POSSIBLE SOLUTIONS

waiting for the forum community to answer his questions

manages to recreate the sound learning new techniques

05.2 PERSONA #2

Anna, 23, cinema student GOALS: enter the work environment as video maker; create a network in the videomaking field PAIN POINTS: no experience in the working environment; doesn't know where to start

DURING

BEFORE

ACTIONS

decides to start working as a freelancer

computer

TOUCH POINTS

AFTER

look for videomakers network look for websites dedicated to freelancers

wait for job offers

website1

website4

website2

forum

website3

social network

wait for other videomakers to interact with her

MOOD

PAIN POINTS

POSSIBLE SOLUTIONS

lots of website, all the same offers

waiting for job offers

both networking and job offers using the same service

many different services for networking

lot of effort for very few results

05.3 PERSONA #3

Thomas, 47, law teacher GOALS: spend quality time with his family; find fun and entertaining activities PAIN POINTS: Sometimes it's hard to take his head outside of work

BEFORE

ACTIONS

decide to look for new activities to do with his family

decide to go to a museum

search for activities and events in the area

decide to go to the movies

google search

shares tickets with family receive tickets by email

not interested in exhibition

google nearest cinema

museum website

phone

google search museum website

TOUCH POINTS

AFTER

DURING

email cinema website

article about a new park

news article1

article about new exhibition

news article2

movie selection

video3 Youtube

article about new movie release

tickets purchase

MOOD

PAIN POINTS

many different websites to open

many options but not interesting

unique space for entertainment

POSSIBLE SOLUTIONS

06 USER NEEDS

To fully understand the needs of users, it is helpful to visualize scenarios that identify the behavior and preferences of each persona, resulting in a map of the service's key functions.

Jim, 34 years old Sound Designer

GOAL: to find inspiration to

exercise and keep up with new softwares and techniques.

decides to exercise his skills and try new techniques.

looks for random inspiration on different platforms.

decides to start working as a freelancer.

joins many websites dedicated to freelancers.

decides to look for new activities to do with his family

searches for activities and events in the area. Opens an article about a new exhibition

Anna, 23 years old Cinema Student

GOAL: to enter the work environment as video maker.

Thomas, 47 years old Law Teacher

GOAL: to spend quality time with his family.

Decision to search for somehing Numerous and confusing results

finds a sound effect he likes.

looks for tutorials to recreate that particular sound.

manages to recreate the sound, learning new tecniques.

looks for contacts and networks.

joins forum and communities, follows other videomakers.

waits for job offers and other videomakers to interact with her.

he's not interested in the exhibition. Decides to go to see a movie.

opens the nearest cinema website, selects a movie and buys tickets.

shares the tickets with his family.

PART THREE Ideate

01 SERVICE REQUIREMENTS

The primary needs of the target users have been researched, analyzed, and identified up to this point. Specifically, freelance videomakers, students or amateur videomakers, as well as the audience they intend to reach, are the main categories on which the "define" step of the design process has focused. Based on this evaluation and selection work, it was determined that the three main poles around which to design the service will have to be "inspiration", "work", and "distribution. The "inspiration" section of the service will assist video creators in finding creative outlets and encouraging them to challenge themselves and other content creators. Often, creative people are constrained by the commitments and restrictions imposed by their jobs, whether they are general rules, customer requests, deadlines, or budgets. Having a place to experiment and be able to contaminate and be contaminated by the styles of others makes the mind more elastic and open to the numerous challenges that arise in the workplace. But, most importantly, it amuses and entertains. The "work" section is intended to provide freelancers with a resource for finding proposals and job listings from companies, brands, production studios, or other videomakers. In this way, amateur and professional creators can connect and form a network, nurturing mutual growth. This section entails a competition system that will connect filmmakers with brands and companies looking for ideas and content. The brand or company will be able to organize a competition in which all content creators can participate by creating a short film based on their instructions. The "visibility" aspect is what will allow users to reach a large audience with their work. By screening selected short films in special booths, it will be possible to not only make videomakers' work known to the general public, but also to gain exposure outside of the online platform. The chapters that follow will go into better detail about the service, explaining its functionality, usability, and morphology.

01.1 FUNCTIONALITY

USERS

VISIBILITY production creator

projection booths

audience

USERS

gallery INSPIRATION

production

creator

mix

USERS

NETWORKING production

creator

contests

USERS

$ WORK production creator

brand

job offers

01.2 USABILITY

projection booths

gallery

mix

contests

Projection booths will be set up in public places to show the selected short films to the audience. Anyone can enter the booth and choose their favorite film for a small fee. The profits from the boots will be distributed between the winning team that created the short film and the location that will host the booth.

To enhance collaboration among all users, the gallery section contains files uploaded by the creators and shared with the whole community in order to create a big library of material available to everyone. The gallery section on each profile will also work as a showcase for the users

A brief media file, including a video, audio, script, or storyboard, can be posted by the user in the gallery section. Other users can edit this file by adding their own contributions, such as video and audio. The resulting file can also be modified, opening up an infinite number of possibilities. This function fosters creativity and can assist creators in discovering one another.

Brands and businesses can offer sponsorship by producing short videos that correspond to their suggestions. The brand will launch a contest in which they will specify the message they want to convey, as well as guidelines, inspiration material, a starting file, and anything else they consider important. To participate, videomakers will need to form a team of platform users in order to deliver a final product. The winning short film will be shown in public places in the projection booths. Challenges launched by regular users are another type of contest. Any profile can make a proposal, and other creators will respond with their own idea. This challenges are free to participate in and can be completed alone, without the formation of a team.

job offers

All job postings and listings from both companies and content creators will be housed on a dedicated page. This will provide users with a variety of opportunities based on their skills and experiences.

01.3 MORPHOLOGY

Showcase of short media files (video, audio, script, storyboard) uploaded by all platform users. Each subscriber can download a file and make changes based on their abilities, such as adding special effects, sound, or additional scenes. By reuploading the files, an infinite content network is created, challenging the users' creativity. MIX

The user can upload in this section multimedia files such as audio or video that will be shared with other users, who can use them as inspiration or as a repertoire file. This allows the creation of a big shared archive among all users.

In this section, the user can see all of the users in his knowledge network. It is possible to add as many people as desired, including both users whose work is interesting to the user and users with whom the user has actually collaborated or interacted. A stamp indicates the level of knowledge.

DISCOVER

GALLERY

HOME

NETWORK PROFILE

TEAM

All of the teams on which the user has previously served, as well as those with which he currently collaborates, are listed here. If the team agrees, the product they worked on can be viewed once the project is completed. Team members can vote on and confirm the skills of other users, allowing them to demonstrate their abilities once a project is completed.

CONTESTS

Business profiles of brands or companies hold contests. The brand distributes a brief that includes basic information for competitors such as directions, inspiration material, starting files, and suggestions. At the conclusion of the contest, a selection of products delivered by participants is passed into the hands of a production studio working in collaboration with the brand to create the final product. A riduct version of the contest are the challenges launched by the users for other creators. They don't require any type of payment and users can partecipate singularly withoutr forming a team.

WORK

HOME

JOBS

This section contains all job advertisements and collaboration requests posted by companies and individual content creators. It is possible to activate a filter in the research that allows users to view only ads relevant to their skills and competence level.

SELECTION

SELECTED SHORTFILMS

The winning short films are automatically displayed on the selection page. Users can vote for short films posted by individual users and production studio profiles to be included in the selection. The short films from the selected catalogue will be shown in the projection booths, where the public will be able to choose which film to watch.

02 STORYBOARD

After outlining the service's functionalities, it is now possible to re-evaluate the scenarios in which the user's needs were shown [page 50]. Every requirement is met thanks to the service's features.

Jim, 34 years old Sound Designer

GOAL: to find inspiration to

exercise and keep up with new softwares and techniques.

He decides to exercise his skills and try new techniques.

He opens Koral and chooses a video from the Mix section of the website.

She decides to start working as a freelancer.

She joins _TITTLE_ and looks through the job listings. She reads a lot of job postings from companies, but she doesn't believe she is qualified.

He decides to look for new activities to do with his family.

He explores to the Projections section on _TITLE_ and reads the description of each available short film.

Anna, 23 years old Cinema Student

GOAL: to enter the work environment as video maker.

Thomas, 47 years old Law Teacher

GOAL: to spend quality time with his family.

He begins to watch the various versions of this video and is inspired to create his own.

He has an interesting idea for the sound effects in the video.

He applies his effects and uploads the improved video to _TITLE_.

She turns on the filter to only see ads from other beginner creators. She comes across a job advertisement posted by a scriptwriter looking for videomakers for a small project.

She applies and, following an informal interview with the ad's author, she joins the team.

She improves her skills and competence, and she expands her network of contacts.

He shows the selection to his family, and they decide on which short film they prefer. He purchases the tickets through the website.

He investigates the locations of the projection booths and learns that they can be found in a variety of public spaces, including the city center, malls, and parks.

Because it's a beautiful day, the family decides to have a picnic in the park before watching the short film in the booth.

The foundations of the service have been laid, and the main functions that meet the needs of the user have been identified; now it is necessary to build the rest of the service to ensure that it is complete and consistent. The map below depicts the platform's services, which will be discussed in detail in the following chapters.

03 SERVICE DESCRIPTION

AUDIENCE

CREATOR

PRODUCTION

Contests/ Challenges Team

Mix

Shortfilms selection

Projection Booths

Gallery

Network

Jobs/ collaborations

PUBLIC SPACES/ MUSEUMS/ THEATRES/ SHOPPING CENTRES

SPONSORS

COMPANY

03.1 USERS

The platform is primarily designed for three types of users, with a fourth category exempt from registration. At the time of registration, the user will be able to select the type of profile that will identify it, allowing access to various features of the platform. CREATOR refers to all users who are students, amateur videomakers, people who have video making as hobby, and professional videomakers. This type of profile does not charge a fee to join the platform, encouraging participation and allowing users to freely explore the site. This is the target on which the platform is built, and it is critical that no visitor is discouraged from subscribing to the service. Furthermore, with the exception of job-related functions, the features available to this profile do not imply an economic return. As a result, most visitors would find a registration fee unjustified and discouraging. Users with the Creator profile can participate in company-sponsored calls by forming teams with other users and to ther collaborations among users. To participate in the competitions with sponsors, a small fee will be charged to each participant in order to conduct an initial screening and select the participants who are truly interested in the competition. PRODUCTION Identifies already established and active production studios with multiple members. A registration fee is required to obtain a production profile, as the activities offered by the platform to production studios require an economic return. The una tantum charge is thus justified as an investment for future use. In fact, the production profile enables interactions with brand profiles when a competition is held in order to win, under compensation, the final production of the winning short film. Like the Amateurr profile, the Production profile includes a gallery page to share their content, as well as the ability to post job offers and collaboration requests. COMPANY This profile, which applies to brands and businesses of all sizes, implies the payment of a fee at the time of registration. It is possible for a company to publish notices for competitions in which Creator profiles will participate. To be able to publish the call, the company must first establish, in addition to the instructions for competitors, a budget for the winning product, which includes payment for the production of the short film by a production profile. It is also possible to publish job offers using the Company profile. Furthermore, it may propose sponsorships to users considered deserving based on works published on the platform. AUDIENCE The fourth category, which is exempt from registration, refers to all visitors who do not intend to use the services provided by the various profiles and are only interested in the selection of short films. Their contribution is limited to purchasing an entrance ticket and consuming the content in the projection booths.

03.2 CONTESTS

Contests are one of the platform's most important features. Who can publish the calls are the Company profiles who will be responsible for sponsoring the short film's production. Brands and businesses of all sizes will be able to use this service to obtain short films with product insertions, phrases, or specific messages that can then be used as an advertisement spot, teaser, or simply to be associated with a specific message. If, for example, a company wishes to make public its support for a movement or to convey a specific message, it will be the primary indication in the competition notice with which participants must comply. As the final destination will be a public projection booth, it is critical that the short film be accessible and entertaining to the general public. To propose a competition, the company must first determine the budget range it is willing to offer for the project, which includes compensation for the production studio that will complete the short film. The indications for the competitors, such as the message they want to get to the public, the duration, and the mood that must be achieved, must be specified in the competition notice. It is also possible to share some inspirational material with competitors in order to better convey the brand idea, whether this is in the form of reference images, sounds and music, links to videos, or so on. Finally, the company can provide a starting file for competitors to work on. Another requirement for the company profile that publishes the competition notice is to specify a deadline by which the products must be delivered The competition's publication is of interest to both videomakers and production profiles. Videomakers who want to participate must pay a small registration fee. This ensures that only users who are truly interested in the contest participate, making the company's final selection easier. After entering the contest, the videomakers will need to form a team or join an existing one in order to reach all of the figures required for the creation of a short film, such as screenwriters, sound designers, editors, and so on. Because the platform hosts both professional and amateur videomakers, teams are not required to deliver a definitive and ready-to-use short film. This will reward ideas rather than technique, keeping all contestants on the same playing field. When the deadline expires, the production profiles come into play, and they must apply for the assignment of the short film's final production. At this point, the company that created the competition will have to choose which submissions best represent their original concept. The production studios will be able to vote on which concepts they prefer, proposing to the brand their production idea along with a quote for the assignment. The brand will select one of the proposals, and the short film will be produced. A second version of the contest is available among users: the challenges. A user with any type of profile can ask a question, a proposal or a challenge that other creators can respond to with their ideas and contributions. Participation in these challenges does not involve a payment and users can participate individually without the need to compose teams.

03.3 TEAM

Users are allowed to participate in the constest after building a team. The platform's mission is to encourage users to interact and build networks of contacts in the field of videomaking. As a result, team building is an important aspect of the service. The team's creator must present their project concept so that users looking for a group can determine whether or not to join the project based on their abilities and goals. The number of participants in a team is not limited, but a minimum of three people is required to confirm the establishment of the team. It is possible to organize the work among the members on the team page by adding the tasks and their optimal duration on a timeline. Task visualization facilitates activity organization among more individuals and aids in the division of work. Users can upload numerous file formats to the team page in order to share each step of the process with all participants. Following the completion of the project, each member of the team will be asked to evaluate the talents of their colleagues in order to establish a true profile in preparation for future collaborations.

03.4 GALLERY

The Creator and Production profiles both allow for the development of a personal profile in which to include personal information such as addresses and job experiences, as well as a gallery area. This section allows users to add their own multimedia content, such as recordings of everyday life scenes, views and panoramas, background sounds, chatter or laughter, improvised music, small sections of a script, and so on. The sharing of this content is open to all platform users, resulting in a large library shared by the entire community for inspiration as well as use of the contents itself. In fact, the uploaded files will display not only on the user's profile, but also in the platform's discover section, which pulls content from all accounts at random. It is also possible to do a more specific search inside these contents. In fact, when uploading the file, the user is prompted to include hashtags in order to categorize it and make the search more effective.

03.5 MIX

Every content creator must nurture their creativity and frequently feels the need to be inspired by the work of others in order to lubricate the creative process. This need is met by the mix function, which challenges users and tickles their new ideas. Each user category may submit a short video or audio clip, a script or storyboard, or an inspirational photo in their gallery. The file can be downloaded by any user and then re-uploaded in response to the source once modified and implemented as desired. It will be possible to add sound effects to a silent video, shoot scripted scenes, bring a photograph to life by recreating the atmosphere in a frame, and so on. Loading the modified file in response to the source file will allow to keep track of the creative path and possibly retrace all steps. The process does not end with the first file, as it is possible to modify all of the subsequent versions, ideally generating an infinite amount of content. These small experiments can be re-shared on various social media platforms, with a watermark indicating ownership. This process will not only inspire users' creativity, but it will also provide opportunities to discover artists and creators of interest.

03.6 NETWORK

A component of the user profile is dedicated to the contact network. Each user has the ability to follow other users' accounts without restriction. When a user selects to follow a profile, the system requires them to specify if they have personally worked with the person they want to add to the network, if it is a knowledge with whom they have never cooperated, or if it is simply a user whose works they like. This difference will aid in cataloging the network of knowledge, resulting in a credible portrayal of user collaborations.

03.7 JOB LISTINGS

The job section contains all job advertisements and requests for collaboration. Any type of profile, whether freelance, production, or company, can post an ad. Ads are labeled based on the level of experience required. This enables users to filter ads based on their abilities.

03.8 SHORTFILMS SELECTION

The shortfilm selection section collects all of the short films that are available to the public for viewing in the projection booths for a small fee. The contest winners' short films, as finalized by production studios, are automatically included in the selection. Other short films may be entered into the competition via a voting system. Production profiles and freelance profiles can both list their productions, which are then voted on by users. The vote is closed on a regular basis, with the most voted videos being accepted on the selection page.

03.9 PROJECTION BOOTHS

The projection booths serve as a link between the digital worlds of video creation and social media and the physical and concrete surroundings, resulting in a phigital ecosystem. The physical component of a service is especially crucial today, as there is a growing tendency toward digitalisation and service simplicity. The concreteness makes the service more authentic and memorable in the perspective of the user, who undoubtedly values an experience lived in the first person at 360 degrees above a simple digital contact through computer or phone. The cabins are therefore the final output of the production process developed through the online platform. The projection booths are ideally designed to seat two people, which is the average number of individuals who attend to the movies, according to polls. Whereas a larger group of individuals wishes to use the service, a series of three more foldable seats are included in the cabin. According to surveys, groups of more than 5 spectators are quite rare. The restricted number of public permits for compact dimensions and facilitates cabin placement in destination spots. To offer a good experience to the public, a projector fixed to the ceiling of the cabin above the audience broadcasts images on a screen with a size and positioning proportionate to the distance of the viewers. Two directional speakers are installed in the corners behind the seats to deliver sound to the audience. The walls are insulated with sound-absorbing material to prevent sound from escaping the cabin. To control entrance into the cabin based on ticket purchase, there is an automatic turnstile at the entrance that is controlled by a QR scanner. In addition, a touchscreen outside the cabin allows visitors to browse the list of available short films and purchase tickets. In a limited budget scenario, the alternative to the turnstile is to hire staff to check the entrance tickets. Instead of the touchscreen, a QR code would be displayed on the booth itself, directing visitors to the site's shortfilm selection page, where they can also purchase tickets. The platform's sponsors are mainly responsible for the booths' building and positioning. In exchange for exposure and visibility, external sponsors contribute to the construction of the cabins. The latter can be seen in the materials utilized in building, electronic equipment, as well as the provision of the location itself. A shopping center, for example, may establish a cabin inside, taking advantage of the flow of outside customers and screening short advertisements before the film. A booth can also be located in a museum, a festival, a club, or a library. Even a local administration may be interested in placing a projection booth in the main squares, fostering art and creativity, and perhaps actively participating on the platform by calling for contests to raise awareness on specific topics. In fact, companies registered on the site may contribute to the budget for the booths' construction. Brands who have launched a competition and want to show the results may be particularly interested. The projection booth functions as pop-up advertising in this example and can be customized to reflect the business identity. The platform and the creators of the selected short films split the profits from ticket sales in various amounts.

gate QR scanner projector speakers foldable seats projection screen

touchscreen

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FAT LAMA

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SERVICE

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Add incremental products & assets

ASANA

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BEHANCE

Use/improve existing products assets

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MOVIDIAM

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Serve better existing customers and markets marketing

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MANDY

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GOPILLAR

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PATREON

Enter adjacent markets

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04 SYSTEMIC INNOVATION DIAGRAM

Develop new products & assets

Go beyond products & customer narrative

Filmmaker Targeted

Core Innovation

Generic Target

Systemic Innovation Transformational Innovation Adjacent Innovation

04.1 BENCHMARKING SERVICES TARGETED FOR CONTENT CREATORS

#Cooperation #TeamBuilding #TaskOrganization

ATELLIO "Take control of your creativity." A creative resource planning tool enabling studios to unify and expedite their content development processes. It provides a creative cloud for managing, tracking, and unlocking insights for each project. Atellio focuses on creative processes and is dedicated to the content development process.

#Cooperation #Renting

FAT LAMA "Rent anything from people in your area." When it comes to lending or borrowing photographic equipment, Fat Lama overcomes the issue while also introducing a new environment of valuable social involvement beneath the surface. Fat Lama has created a natural place for itself in high-end video equipment since its debut in 2016.

#WorkAds #Collaborations #Freelancing

MANDY "Mandy makes things happen." A big creative network of performers, film crew, and TV crew that helps professionals find work in TV studios, on movie sets, and at events With these characteristics, it creates a dynamic digital professional hub for creative individuals all around the world.

#WorkAds #Collaborations #Cooperation

MOVIDIAM "The Little Black Book has been ripped up. Talent has been unleashed." This site, a professional creative network for filmmaking, allows creative people to offer their talents. Movidiam, as a platform for filmmakers, is worth a look for those looking to recruit an efficient team.

#ContentMixing #Visibility #ContentSharing

TIKTOK "TikTok is the leading destination for short-form mobile video. Our mission is to inspire creativity and bring joy." A video-centric social networking service that hosts a variety of short-form user videos ranging in length from 15 seconds to three minutes, including genres such as dance, humor, and education.

SERVICES WITH GENERIC TARGET

#Cooperation #TeamBuilding #TaskOrganization

#ContentSharing #Visibility

#Contests #Freelancing

#Freelancing

#ContentSharing #FundRaising #CrowdFunding

ASANA "We believe in teams. Yours and ours." Developed to improve teamwork and task management, it allows teams to handle projects and tasks in a single tool. Teams may use Asana to create projects, assign work to coworkers, set deadlines, and communicate about assignments. It also has reporting tools, file attachments, calendars, and other features.

BEHANCE "We’re on a mission to empower the creative world to make ideas happen." A social media platform owned by Adobe where users can create profiles based on projects. Users can "appreciate" and comment on any individual project. Members of Behance can follow the profiles of other users. This online porfolios with "project" framework is like an organized art exhibition.

GOPILLAR "GoPillar: faster, easier, better" Platform for architects and designers. Whether the customer needs to renovate an existing area or build a new one, GoPillar can help. Simply starting a design contest and establishing a deadline will provide the user with dozens of high-quality designs to pick from.

FIVERR "Find the talent needed to get your business growing." Fiverr is a platform for freelancers. It allows users to list and apply for small one-time jobs, or gigs, online. It is an e-commerce network founded on the concept of posting temporary job openings. The cost of a Gig is determined by how much a vendor earns per completed assignment.

PATREON "Change the way art is valued" By selling a monthly membership on Patreon, users can allow their followers to become active contributors in the content they love. Creators provide fans with exclusive content and insight into their creative process, while they receive the flexibility to do their best work in exchange for the stability they need to create an independent creative career.

05 BUSINESS MODEL CANVAS

KEY PARTNERS

companies (sponsors)

production studios

theatres/ museums/ shopping centers

KEY RESOURCES

booth location

data storage

COST STRUCTURE

data storage

platform manteinance

KEY ACTIVITIES

work inspiration networking visibility

KEY PROPOSITIONS

contests portfolio

mix

job listings

CHANNELS

website

projection booths

CUSTOMER SEGMENTS

production studio creators

companies

audience

REVENUE STREAMS

fee to enter contests shortfilm tickets

subscription fee from companies and productions

PART FOUR Design

01 BRAND IDENTITY

Brand identity is a significant consideration in the design of a service. In fact, it serves as the platform's business card, as it is the first thing that the visitor perceives. Every component of the platform, from the name to the color palette, must send a message, whether it is clear or subtle. A brand identity is a collection of tools or features that a company uses to build a brand image, that is a customer's perception of a brand made up of many links with it and experiences of engaging with it. A company's mission, brand value proposition, long-term goals, competitive market position, and relevance to the values and interests of the target audience all contribute to a brand identity and its aspects. These aspects are fundamental and explain what a business wishes to express during the branding process. A brand identity, in conclusion, specifies how these fundamental aspects are communicated.

01.1 BRAND PERSONALITY

01.2 TARGET IDENTIFICATION

01.3 NAME

corale [italian]: /ko'rale/

koral

1. In the language of contemporary literary criticism, it is said to be an opera, or part of a work, narrative, or even theatrical, in which the various elements and motives (characters, action, environments, landscape, etc.), rather than apply each to themself or prevail over the others, tend to unite and merge into a harmonious ensemble, almost voices of a chorus: choral scene, episode, performance, story telling, novel. 2. Adjective that comes from the Latin cor «heart»; ancient version of cordial; that comes from the heart, therefore sincere and deep.

01.4 LOGOTYPE

camera/projector

coral shape

a a

FONT:

modulus bold

01.5 LOGO

#111521

#fc766a

#ffffff

black

coral

white

01.6 PALETTE & TYPOGRAPHY

logo: modulus bold

TITLE: MONTSERRAT SEMIBOLD paragraph: montserrat semibold

AaBbCc

#ffafa0

AaBbCc AaBbCc

#fc766a

AaBbCc AaBbCc

#d5554d

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#686c7b

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#383a48

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#d26a95

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#85c8ba

#f6e049

02 WEBSITE

page

internal link

pop-up

external link

TOP BAR film selection profile

FILM SELECTION

contests

film card buy

jobs about upload file

BUY

LANDING PAGE

purchase details buy

logo

film selection sign up

CONTEST

twitter

brend card add to network

enter

website

SM links other links SIGN UP

contest card media file

start log in

new team team

HOME PAGE contests bar contest challenge more media card

02.1 WEBSITE MAP

PROFILE profile card add to network JOBS

message

job listing card

invite to team

collaboration card

SM links other links gallery tab media cards

CONTESTS PAGE contest card challenge card

network tab contact cards

MEDIA PLAYER

team tab team cards

author profile card add to network message invite to team SM links other links

NEW TEAM create team

other works

TEAM PAGE team card team member

CHALLENGE profile card add to network

discussion tab post

message

tasks tab task cards

invite to team SM links other links

timeline tab timeline card

submission card

02.2 WIREFRAME

public page 82

users only page

LANDING PAGE

representative picture / animation catchphrase

features description

account features description

SHORTFILM SELECTION

SHORTFILM TICKET PURCHASE

public page 84

users only page

HOMEPAGE

active contests/ challenges

thumbnails

research filters

PROFILE - GALLERY

about followers, followed, teams

filters: filoes originally posted / file mixed

Koral - online platform for videomakers

Articles inside

04.1 Benchmarking

02 Storyboard

01.3 Morphology

03.1 Users

01.2 Usability

01 Service Requirements

06 User Needs

02 Film Industry: Studios Vs. Independent

03 Empathy Map

01.5 Co-Creation

02.2 Audience's Point of View

02.2 Theatres Today

03.2 TikTok

01 Strategy Design

03.3 Netflix