42 executive summary theibcdaily Monetising multiscreen “I envision the invisible data
flitting through the 10-foot space between couch and TV screen”
Socialising
TV
Since April this year, Tessa Sproule has overseen the Canadian public broadcaster CBC’s digital content. She was previously its director of interactive for scripted and unscripted programming.
Tessa Sproule
Director of Digital, CBC Region: Canada
Interview by Ann-Marie Corvin
Will second screen apps ever turn into significant revenue spinners? We approach these apps as a way of creating a real touch point with the audience, which we can push or pull during the broadcast or outside of it. I think that definitely will extend into advertising and sponsorship and lead to greater revenue.
Aren’t most people doing something on their ‘second screen’, completely unrelated to the TV? When I picture the living room space, I envision the invisible data that’s flitting through the 10-foot space between the couch and the TV screen. Right now, the audience is tasked with making sense of that data – pulling an actor’s bio from Wikipedia onto their
smartphone, or using their iPad to respond to a friend’s status update on Facebook about a show they’re both watching. It’s our job as content-creators and storytellers to make that experience easier and better. There’s also about half of people doing completely unrelated stuff. Content companies haven’t always done the best job of making the ‘second screen’ experience easy.
What has been your most successful second screen experience? For family drama Heartland we wanted to create something that engages with its highly
active Facebook fan base. We built a social game around the show themes and characters where fans could create their own virtual ranch, tend to their own horses, grow crops and interact with the characters – encouraging friends to join them. Two years into running the game and it’s still growing strongly – with just shy of 50,000 monthly players.
How have you tackled the socialisation of unscripted programming? We’re diving deeper into social TV and gamification territory, creating ways for audiences to engage with each other and the shows in realtime during
broadcast. Last fall, we approached the voting for Over the Rainbow (where the audience votes to cast the role of Dorothy) with digital at the heart of the experience. In order to cast a vote, the audience had to earn it by engaging with the show and each other. We encouraged realtime audience input into the performances of the actresses in the broadcast and we put that audience feedback onto the screen in realtime across multiple time zones. Some of the production and workflow learnings from Rainbow will inform what we do with the Winter Olympics in February.
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