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For example, using footage taken from multiple devices like phones, digital video cameras, closed-circuit television systems, news footage, and web cams, a storyline can be generated online which has the feel of a real sequence of events. These video elements would then be played back with overlying narrative in an actual filmic release, requiring fans of the online footage to sit through multiple viewings of the final film product to satisfactorily answer all of the questions that the bits of online footage and media had raised, thereby creating depth and reflecting back that which has become familiar through previous exposure. 3gp projected on a full theater isn't going to work, but embedding bits of footage already passed around on cellphones months in advance of the release will, and digital narrative is only going to become both more filmic and more occultic.

While The Blair Witch Project relied on various horror tropes to heighten tension, we feel that plenty of other film genres are open to similar types of trans-media storytelling. It is the act of assembling the footage prior to the movie-going experience which seems to reveal a specific sequence of events, and only by attending the film would the entire narration reveal the other underlying pattern. Throughout the film, events are shown which are interpreted through the narrative in one way, but when the film reaches its climax the viewer suddenly perceives the events of the film⁹⁷ in an entirely new light.

We can expect this kind of narrative to become more prevalent as writers and creators experiment with the capabilities the internet has opened up within the last decade. Now the question isn't if this trans-media storytelling will occur, but rather what can the online footage contain that is compelling enough to cause those who encounter it to begin archiving and studying the footage. The answer becomes the storyline of both the marketing prior to the film and the twist within the film that motivates film-goers to second and third attendances, even if they had not previously encountered the online footage. In short, the marketing must become as compelling as the product in the networked world, because attention is now an economy of its own.