One 3 Productions is an innovative transmedia entertainment company that tells relevant stories with moral foundations, using diverse mediums to impact and influence the world. We seek to lead a new generation of people in telling relevant stories that mirror culture while, at the same time,  creating it.

Being anchored by this scriptural foundation, One Three Productions will be committed to excellence in all aspects of its art, be it comics, films, games, or any other medium it identifies as viable.  With an understanding that the Ultimate Creator lives inside all of us, One Three Productions will tap into His creativity, harness the power of imagination and create works that will further expand His Kingdom and give glory to His name, all while following this simple plan:

Initially, by telling effective, well-made, relevant stories, One Three Productions will be able to soften the heart of their viewers, readers, listeners and customers.

Secondly, because the “ground has been prepared” by these stories, the strong moral premises of One Three Productions’ creations will plant righteous seeds into a multitude of hearts.

Lastly, One Three Productions will act as a “Nathan” by being uncompromisingly committed to interacting and discussing its creations with the people that watch, read and become involved in them.  One Three Productions will then draw parallels between its creations and people’s lives, helping call forth the harvest of the creative seeds that have been planted and thereby performing its reasonable service to expand the Kingdom of God.  Jesus is Lord.

Transmedia Storytelling

Simply put, the diverse skill-sets of the One 3 Productions team members makes transmedia storytelling a perfect fit.  Transmedia storytelling uses several different forms of media to blur where a story begins and ends and provide a more compelling, interactive experience for consumers. It also adds extra-dimensionality to characters and plots that a single channel can't and even continues the story long after audiences leave the cinema or the reader puts down the book.1

Transmedia is a macro-narrative approach where integral elements of a story are dispersed across a variety of media platforms for the purpose of creating a unified and coordinated entertainment experience in which each platform makes its own unique contribution.  So, for example, a multimedia approach would tell a story in a film and then retell the same story in a book novelization and then retell the same story yet again in a comic book.  As one can see, a traditional multimedia approach is almost wholly built upon derivative works.

Conversely, a transmedia approach would develop a franchise universe not based on a character or a specific plot, but rather a complex fictional world that can sustain multiple interrelated characters and their  subsequent stories.  Once the universe is established, multiple stories are developed for a variety of mediums with key bits of information conveyed through the mediums.  Each one of these mediums tell unique stories that exist within the framework of the franchise universe and also give audience members unique perspectives and information.  With this ‘additive comprehension’ approach, there is no one single source where one can turn to gain all the information needed to comprehend the universe. 

However, it’s important to note that each one of these stories and projects can exist independently in its given marketplace and doesn’t rely on the other projects for comprehension or success.  Transmedia is not a puzzle where the individual pieces are useless without the others.  Instead, transmedia is a mosaic where the pictures can not only exist as individual works of art, but come together as a whole to make an even greater work.  The Matrix franchise, for example, conveyed key bits of information through three live action films, a series of animated shorts, two collections of comic book stories and several video games.  They each tell separate stories and communicate unique perspectives concerning the franchise universe, which is a future where machines take over the world and use humans as living, breathing batteries. 

Essentially, if consumers, because of their interest in the universe and one of the specific stories, delve outside of their normal demographic market and experience another story told within the universe but through a different medium, they’re extra investment will be validated due to their established comprehension and interest in the universe itself.  However, those consumers who haven’t experienced additional stories won’t be lost, confused or feel left out because the story they’re experiencing will stand strong independently.  Transmedia storytelling thereby causes the individual stories to work for different consumers on different levels, all while maximizing the market potential for the entire franchise.

Primarily, transmedia storytelling expands the potential market for a property by creating different points of entry for different audience segments and demographics which don’t necessarily overlap.  For example, a board game component of a transmedia franchise will tap into a demographic that the other components fail to, due to the fact that the demographic is made up of people with values and interests unique to the board game world.  The same is true for each separate demographic.  It’s as if one fisherman is simultaneously fishing in multiple ponds rather than banking on being successful in the first pond before moving to the next.

Moreover, each transmedia component cross-markets the other components, providing a more cost-effective way to market, promote and advertise for the universe.  It’s extremely effective because it extends awareness of the over-arching universe to a greatly expanded customer base, which allows each component to share the costs of reaching consumers.  Plus, it’s much more fiscally efficient.  For example, the average 30-second television commercial can cost over $1 million in the aggregate (from production of the spot to airing during prime-time television)2 whereas the combined cost of a healthy run of a board game, graphic novel, ARG and an album would cost significantly less and would have consumers in multiple demographics engage into the story of the franchise much more than a single commercial ever would.  Thus the transmedia franchise elements would garner more interest and better market the franchise on an interactive, consumer-based level for a fraction of the cost of traditional marketing methods. 

Moreover, a transmedia approach transforms your traditional marketing expenses into independent revenue generators.  A commercial or a print ad may drive consumers to a film, but a consumer that gets hooked by a compelling story in a graphic novel, will be driven to the same film.  The only difference is in the second scenario, the transmedia company generated revenue from the graphic novel.  Hence, with a transmedia approach, marketing actually becomes monetized over a series of media platforms.

The way people are consuming media is changing and transmedia storytelling is an extension of that. Today's young people, the so-called 'digital natives', are growing up in a connected world with technology that seems completely natural to them and they and others are changing and rewriting the rule book of what is possible.  With people such as Heroes creator Tim Kring decreeing that one-channel storytelling is now considered archaic,3 the age of this new form of storytelling has only just begun.

One 3 Productions is an innovative transmedia entertainment company that tells relevant stories with moral foundations, using diverse mediums to impact and influence the world. We seek to lead a new generation of people in telling relevant stories that mirror culture while, at the same time,  creating it.

Being anchored by this scriptural foundation, One Three Productions will be committed to excellence in all aspects of its art, be it comics, films, games, or any other medium it identifies as viable.  With an understanding that the Ultimate Creator lives inside all of us, One Three Productions will tap into His creativity, harness the power of imagination and create works that will further expand His Kingdom and give glory to His name, all while following this simple plan:

Initially, by telling effective, well-made, relevant stories, One Three Productions will be able to soften the heart of their viewers, readers, listeners and customers.

Secondly, because the “ground has been prepared” by these stories, the strong moral premises of One Three Productions’ creations will plant righteous seeds into a multitude of hearts.

Lastly, One Three Productions will act as a “Nathan” by being uncompromisingly committed to interacting and discussing its creations with the people that watch, read and become involved in them.  One Three Productions will then draw parallels between its creations and people’s lives, helping call forth the harvest of the creative seeds that have been planted and thereby performing its reasonable service to expand the Kingdom of God.  Jesus is Lord.

Transmedia Storytelling

Simply put, the diverse skill-sets of the One 3 Productions team members makes transmedia storytelling a perfect fit.  Transmedia storytelling uses several different forms of media to blur where a story begins and ends and provide a more compelling, interactive experience for consumers. It also adds extra-dimensionality to characters and plots that a single channel can't and even continues the story long after audiences leave the cinema or the reader puts down the book.1

Transmedia is a macro-narrative approach where integral elements of a story are dispersed across a variety of media platforms for the purpose of creating a unified and coordinated entertainment experience in which each platform makes its own unique contribution.  So, for example, a multimedia approach would tell a story in a film and then retell the same story in a book novelization and then retell the same story yet again in a comic book.  As one can see, a traditional multimedia approach is almost wholly built upon derivative works.

Conversely, a transmedia approach would develop a franchise universe not based on a character or a specific plot, but rather a complex fictional world that can sustain multiple interrelated characters and their  subsequent stories.  Once the universe is established, multiple stories are developed for a variety of mediums with key bits of information conveyed through the mediums.  Each one of these mediums tell unique stories that exist within the framework of the franchise universe and also give audience members unique perspectives and information.  With this ‘additive comprehension’ approach, there is no one single source where one can turn to gain all the information needed to comprehend the universe. 

However, it’s important to note that each one of these stories and projects can exist independently in its given marketplace and doesn’t rely on the other projects for comprehension or success.  Transmedia is not a puzzle where the individual pieces are useless without the others.  Instead, transmedia is a mosaic where the pictures can not only exist as individual works of art, but come together as a whole to make an even greater work.  The Matrix franchise, for example, conveyed key bits of information through three live action films, a series of animated shorts, two collections of comic book stories and several video games.  They each tell separate stories and communicate unique perspectives concerning the franchise universe, which is a future where machines take over the world and use humans as living, breathing batteries. 

Essentially, if consumers, because of their interest in the universe and one of the specific stories, delve outside of their normal demographic market and experience another story told within the universe but through a different medium, they’re extra investment will be validated due to their established comprehension and interest in the universe itself.  However, those consumers who haven’t experienced additional stories won’t be lost, confused or feel left out because the story they’re experiencing will stand strong independently.  Transmedia storytelling thereby causes the individual stories to work for different consumers on different levels, all while maximizing the market potential for the entire franchise.

Primarily, transmedia storytelling expands the potential market for a property by creating different points of entry for different audience segments and demographics which don’t necessarily overlap.  For example, a board game component of a transmedia franchise will tap into a demographic that the other components fail to, due to the fact that the demographic is made up of people with values and interests unique to the board game world.  The same is true for each separate demographic.  It’s as if one fisherman is simultaneously fishing in multiple ponds rather than banking on being successful in the first pond before moving to the next.

Moreover, each transmedia component cross-markets the other components, providing a more cost-effective way to market, promote and advertise for the universe.  It’s extremely effective because it extends awareness of the over-arching universe to a greatly expanded customer base, which allows each component to share the costs of reaching consumers.  Plus, it’s much more fiscally efficient.  For example, the average 30-second television commercial can cost over $1 million in the aggregate (from production of the spot to airing during prime-time television)2 whereas the combined cost of a healthy run of a board game, graphic novel, ARG and an album would cost significantly less and would have consumers in multiple demographics engage into the story of the franchise much more than a single commercial ever would.  Thus the transmedia franchise elements would garner more interest and better market the franchise on an interactive, consumer-based level for a fraction of the cost of traditional marketing methods. 

Moreover, a transmedia approach transforms your traditional marketing expenses into independent revenue generators.  A commercial or a print ad may drive consumers to a film, but a consumer that gets hooked by a compelling story in a graphic novel, will be driven to the same film.  The only difference is in the second scenario, the transmedia company generated revenue from the graphic novel.  Hence, with a transmedia approach, marketing actually becomes monetized over a series of media platforms.

The way people are consuming media is changing and transmedia storytelling is an extension of that. Today's young people, the so-called 'digital natives', are growing up in a connected world with technology that seems completely natural to them and they and others are changing and rewriting the rule book of what is possible.  With people such as Heroes creator Tim Kring decreeing that one-channel storytelling is now considered archaic,3 the age of this new form of storytelling has only just begun.