You might have come to this page after seeing a lecture I've given.
The notes below are a bit of a brain dump - and not organised very neatly, and
some of the older links might be broken. But I
hope you can find what you want. If not - then just drop me a line.
“It's a known fact that the film
industry has no shortage of middlemen. The path between filmmaker and audience
is littered with them - some good, some bad. But the promise of a direct
connection to an audience has become the currency of the future.”
Lance Weiler - http://www.filmmakermagazine.com/issues/spring2010/culture-hacker.phphttp://www.filmmakermagazine.com/issues/spring2010/culture-hacker.php
History of New Media
Anthropological introduction to Youtube from Kansas State
Web 2.0 - The Machine is Using Us - http://www.youtube.com/watch?v=NLlGopyXT_g
The BBC's first live webcast
July 2001 - https://vimeo.com/67687561
Film Funding Options
Venture capital -www.aramidfund.com
- and their links to the European Community
Film development and production grants
Amazon Studios - / http://studios.amazon.com/
Article on Amazon Studios:
BBC Channel strategies
Channel 4 - http://www.channel4.com/corporate/4producers
Channel 5 - http://www.five.tv/aboutfive/producersnotes/controller/
PACT - association of Independent Production Companies - http://www.pact.co.uk/
Not from Concentrate - http://www.notfromconcentrate.co.uk/
Independent Production Companies:
New emerging Technology
Tools for Crowd Funding
from the producers of The Age of Stupid http://www.indiescreenings.net/
In June 2010, Indie Screenings is launching its white label
software which will let any filmmaker anywhere in the world distribute their
film via local screenings, DVD, download and pay-per-view. Viva la revolution.
Sign up to the Indie Screenings mailing list to keep in touch with developments
or contact us at firstname.lastname@example.org
- Kickstarter is a new form of commerce and patronage, not a place for
investment or lending. Project creators inspire people to open their wallets by
offering products, benefits and fun experiences.
“If you can get 100,000 followers you've got a career”
founder of Indiegogo.com)
- approach to indie film funding and distribution (see distribber.com too)
and the demand it button - http://eventful.com/
The Explosion of Crowd Funding 2011 AngelList, Caplinked,
BuzzBnk, CinemaShares, CrowdCube, Crowd Funder, FeedtheMuse, FondoMat,
Funding4learning, Grow VC, PeerBackers, PledgeMusci, Poizible, RocketHub,
Sponsume, UnBound, WeFund
Online shops for your films:
Netflix –www.netflix.com taking
DVDs from independent film makers.
Cinema Now www.cinemanow.com
Click Star www.clickstarinc.com (Morgan
Amazon Unbox – www.amazon.com Movie
and TV Downloads
Look up the following too:
And the Distribution aggregator sites:
only at the moment)
Further help with DIY Distribution
shows programmes that are looking for distribution and financing partners,
helping the films and projects to be seen, and known, and fit into a slot, a
line-up, a programming schedule. All requests from the website go directly to
Advantages of “New Media” Distribution
The Webby Awards
distribution has come into its own with such successes as “Valentino: The Last
Emperor” and “Anvil! The Story of Anvil,” both of which hired service deal
companies to handle their theatrical distribution. Working with Abramorama,
ANVIL has grossed over $675,000 in U.S. theaters. Through Truly Indie and
Vitagraph Films, “Valentino” grossed more than $1,755,000 theatrically. In
addition to consulting on “Valentino,” I also consulted on a number of other
films that successfully combined theatrical service deals and semi-theatrical
runs, including “The Singing Revolution” (Abramorama), “Pray the Devil Back to
Hell” (theatrical: Balcony Releasing; semi-theatrical: Film Sprout), “Note by
Note” (Argot Pictures) and “Throw Down Your Heart” (Argot Pictures).
CONTROL - Filmmakers retain overall control of their distribution,
choosing which rights to give distribution partners and which to retain. If
filmmakers hire a service deal company or a booker to arrange a theatrical run,
they control the marketing campaign, spending, and the timing of their release.
In the OW (Old World), a distributor that acquires all rights has total control
of distribution. Filmmakers usually have little or no influence on key
marketing and distribution decisions.
2. HYBRID DISTRIBUTION - Filmmakers split up their
rights, working with distribution partners in certain sectors and keeping the
right to make direct sales. They can make separate deals for: retail home
video, television, educational, nontheatrical, and VOD, as well as splitting up
their digital rights. They also sell DVDs from their websites and at
screenings, and may make digital downloads available directly from their sites.
In the OW, filmmakers make overall deals, giving one company all their rights
(now known or ever to be dreamed up) for as long as 25 years.
3. CUSTOMIZED STRATEGIES - Filmmakers design creative
distribution strategies customized to their film’s content and target
audiences. They can begin outreach to audiences and potential organizational
partners before or during production. They often ignore traditional windows,
selling DVDs from their websites before they are available in stores, sometimes
during their theatrical release, and even at festivals. Filmmakers are able to
test their strategies step-by-step, and modify them as needed. In the OW,
distribution plans are much more formulaic and rigid.
4. CORE AUDIENCES - Filmmakers target core audiences.
Their priority is to reach them effectively, and then hopefully cross over to a
wider public. They reach core audiences directly both online and offline,
through websites, mailing lists, organizations, and publications. In the OW,
many distributors market to a general audience, which is highly inefficient and
more and more expensive.
exceptions, Fox Searchlight and Bob Berney, have demonstrated
how effective highly targeted marketing can be. “Napoleon Dynamite” first
targeted nerds, “Passion of the Christ” began with evangelicals, and “My Big
Fat Greek Wedding” started with Greek Americans. Building on their original
base, each of these films was then able to significantly expand and diversify
5. REDUCING COSTS - Filmmakers reduce costs by using
the internet and by spending less on traditional print, television, and radio
advertising. While four years ago a five-city theatrical service deal cost
$250,000 - $300,000, today comparable service deals can cost half that or even
less. In the OW, marketing costs have risen dramatically.
6. DIRECT ACCESS TO VIEWERS - Filmmakers use the
internet to reach audiences directly. The makers of the motorcycle-racing
documentary, “Faster,” used the web to quickly
and inexpensively reach motorcycle fans around the world. They pulled off an
inspired stunt at the Cannes Film Festival, which generated international
coverage and widespread awareness among fans. This sparked lucrative DVD sales
first from the website and then in retail stores. In the OW, filmmakers only
have indirect access to audiences through distributors.
7. DIRECT SALES - Filmmakers make much higher margins
on direct sales from their websites and at screenings than they do through
retail sales. They can make as much as $23 profit on a $24.95 website sale
(plus $4.95 for shipping and handling). A retail sale of the same DVD
only nets $2.50 via a typical 20% royalty video deal. If filmmakers sell an
educational copy from their websites to a college or university for $250 (an
average educational price), they can net $240. Direct sales to consumers
provide valuable customer data, which enables filmmakers to make future sales
to these buyers. They can sell other versions of a film, the soundtrack, books,
posters, and t-shirts. In the OW, filmmakers are not permitted to make direct
sales, have no access to customer data, and have no merchandising rights.
8. GLOBAL DISTRIBUTION - Filmmakers are now making
their films available to viewers anywhere in the world. Supplementing their
deals with distributors in other countries, they sell their films to consumers
in unsold territories via DVD or digital download directly from their websites.
For the first time, filmmakers are aggregating audiences across national
boundaries. In the OW, distribution is territory by territory, and most
independent films have little or no foreign distribution.
9. SEPARATE REVENUE STREAMS - Filmmakers limit
cross-collateralization and accounting problems by splitting up their
distribution rights. All revenues from sales on their websites come directly to
them or through the fulfillment company they’ve hired to store and ship DVDs.
By separating the revenues from each distribution partner, filmmakers prevent
expenses from one distribution channel being charged against revenues from
another. This makes accounting simpler and more transparent. In an OW overall
deal, all revenues and all expenses are combined, making monitoring revenues
much more difficult.
10. TRUE FANS - Filmmakers connect with viewers online
and at screenings, establish direct relationships with them, and build core
personal audiences. They ask for their support, making it clear that DVD
purchases from the website will help them break even and make more movies.
Every filmmaker with a website has the chance to turn visitors into
subscribers, subscribers into purchasers, and purchasers into true fans who can
contribute to new productions. In the OW, filmmakers do not have direct access
10 things to avoid on social media -
Resoruces online for film makers (Ireland mainly)
http://fansoffilmchannel.com/distribution - new distribution
http://www.marcjward.com/twitter-tools/10-top-twitter-tips/ - top twitter tips
Social Networking trends 2010
Visitors per day (millions) 2009
Av minutes per
user per month
in monthly vistors
UK Ad Display
Social Networking Infographics 2011
Used to be film
societies - using social media now to create an event. Couple of weeks ago -
secret cinema event to show a movie - Alexandra Palace cinema screening of
'Laurence of Arabia' - 20,000 people turned up. The Cineroleum in Clerkenwell -
60 seats - sold out for Badlands screeing in 1 minute!!! Utilising social media
to become your own cinema for your own film!
Open Source Movies
Swarm of angels - Matt Hanson founded project an
open source film studio, onedotzero digital film festival, and ViewShareRemix
open content initiative. A groundbreaking project to create a £1 million film
and give it away to over 1 million people using the Internet and a global
community of members.
It’s not for
everyone - but if you have a more adventurous streak and want to participate in
the future of entertainment then have a look at http://aswarmofangels.com/
The Peach Open Movie Project - “Big Buck
Bunny” - a collaborative animated feature using the open source
animation software Blender. http://www.blender.org
Project London - 760 CGI scenes created by
recruiting animators from Craigs List and the Blender Communitym, then
coordinating them by email. Watch a trailer here: http://projectlondonmovie.com/
1. The Hunt for
Gollum - Audience 6million, Budget £3000 - Chris Bouchard - crew worked for
free on this Tolkein/Jackson tribute
Compared to Lord of the Rings: The Two
Towers - UK Audience - 14.4 million, Budget $94million
2. Star Wreck -
audience - more than 8 million. Budget E15,000 - Finnish sci-fi parody of Star
Trek and Babylon 5 - so popular it lead to a new fully funded project called
Starwreck.com - with a E6.5M budget! Compare with Star Trek UK audience - 3.9
million and Budget $150 milliom
The team behind Star Wreck have now come up with Wreckamovie - a social network of
film talent to help you get your film made in an industry distrupting way.
3. Losing Lois
Lane - Audience 20,000 budget $6,000 - superman is depressed. He is drinking,
whines, doesn't shower or wash his tights obsesses over his split with Lois
Lane and hates his day job - secretidentityproductions.com Compare with
Superman returns - Uk Audience 3.4 million and budget $209million
4. Ashes to
Ashes - audience 3000 - budget E10,000 - set in 1938 - highly stylised
re-imagining of Batman casts the caped crusader as a vengeful and brutal force.
compare to Dark Knight - UK Audience 9.5 million
Starwarsuncut - Casey Pugh and Annelise Pruitt's divvied up Star Wars: IV into
15 second slices of crowd sourced fan versions uploaded to starwarsuncut.com
The result was nominated for an Emmy and the trailer racked up 636,000 views!
6. Born of Hope
- a 2009 fantasy-adventure film based on the appendicies of J.R.R.Tolkein’s
Lord of the rings and made by fans of the Peter Jackson film and released on
dailymotion & youtube.
Self Publishing (books and DVDs)
Advantage is for
physical inventory only. However, you can still list and sell your products via
the Make-On-Demand services of Amazon.com affiliates BookSurge (for books) or
CreateSpace (for books, CDs, or DVDs). BookSurge and CreateSpace are
wholly-owned by Amazon.com and offer inventory-free fulfillment to Amazon.com's
customers. Visit www.booksurge.com or www.createspace.com for more
- http://www.authorhouse.co.uk - author house - builds social networking around
Tom McNab has
just used it for his previous best seller Flanagan's Run - to re-publish
it. https://www.bbc.co.uk/programmes/b00sn9w6 - Liz Thompson -
editor of website Book Branch. She says Mick Shatskin's ideological
company predicts "Chunking" - publishing to niche markets.
People out there will buy it and find it. Author house will do PR and
build social networking - but you can get traction for a first time
novel. Celestine Prophecy self published - and caught fire! Apple
have created an ibook store to self publish and waterstones have invited self
publishing authors to approach them. Print on demand makes it
possible to print and re-print it.
TV/Film/Music/ clip sites:
YouTube, Daily Motion, MySpace, Google Video,Yahoo video, Joost,
Tools to use:
Opensource Animation software - Blender
The new Digital SLR cameras with HD video
Which DSLR http://philipbloom.net/2010/06/06/whichdslr/
Using the Digital SLR camera kit to shoot HD footage can be
explored here:http://www.stillmotion.ca/site.html - click
"cinema" at the bottom of the page.
There's more here: http://www.vimeo.com/6496808?hd=1 all shot on the Canon
EOS 7D Digital SLR.
The cinematic look was also achieved using a whole load of
portable kit from these guys:
Have a look
through their customer featured footage in their "theatre" at the top
for more examples of DSLR camera films.
Nikon just fixed the audio problem with DSLR video by adding a
stereo mic input on their new D300, with full hd video mode included
D-movie it's called. All for just £1499.99.
The Cannon 5D and 7D are still the choice of most pioneers and a
team at Magic Lantern are improving it's performance all the time.
http://vimeo.com/7838475 & http://vimeo.com/7851909
Other examples of DSLR work include:
The short film 'Reverie' by Vincent Laforet - shot on Canon 5D
MkII - http://www.vincentlaforet.com/index_reverie.html and 'First Look' - also
filmed on the Canon 5D MkII and a Red One: http://www.vincentlaforet.com/
Philip Bloom's work http://philipbloom.co.uk/ with tips on
syncing sound for interviews using the software pluraleyes - http://www.singularsoftware.com/pluraleyes.html
Iain Philpott's work behind the scenes on 'Psychologies
And FXGuide's podcast number 61 -
with tips about focus pulling using The Red Rock Micro support
Commercial exploitation of Hypervideo (See http://en.wikipedia.org/wiki/Hypervideo)
Perhaps the most significant consequence of hypervideo will
result from commercial
advertising. Devising a business model to monetize video has proven
notoriously difficult. The application of traditional advertising methods - for
example introducing ads into video - is likely to be rejected by the online
community, while revenue from selling advertising on video sharing sites has so
far not been promising.
Hypervideo offers an alternate way to monetize video, allowing for the
possibility of creating video clips where objects link to advertising or
e-commerce sites, or provide more information about particular products. This
new model of advertising is less intrusive, only displaying advertising
information when the user makes the choice by clicking on an object in a video.
And since it is the user who has requested the product information, this type
of advertising is better targeted and likely to be more effective.
Ultimately as hypervideo content proliferates on the Internet, particularly
content targeted for delivery via the television set, one can imagine an
interlinked web of hypervideo forming in much the same way as the hypertext
based World Wide Web has formed. This hypervideo based "Web of
Televisions" or "TeleWeb" would offer the same browsing and
information mining power of the Web, but be more suited to the viewing
experience of being 10 feet from the screen on the living room couch than the
Web is. Here may form an environment of not only interactive ads, but also one
of interactive and nonlinear news, information, and even story telling.
The changing face of print journalism - and
The Web is Dead - Long Live the Internet - Internet Traffic
Other video camera innovations include the new JVC
offering which shots .mov files which can be dragged straight into FCP to ease
Mold breaking online video:
All began with lonely girl 15 http://www.lg15.com/
Sofia’s diary now pushing 400 'webisodes'.. http://www.bebo.com/sofiasdiary -
now on Channel 5
Richard Hammond presents Bloody Omaha (The
The Gym, ITV's first production for mobile devices
Hot Desk - another ITV entertainment mobile series
NOVEL FILM DISTRIBUTION PROJECTS
Danny acey’s New Film Project Love Like Hers
- Uses live stream to raise $1000/hour
Wayne Wang will follow in their footsteps when he premieres
his new feature “The Princess of Nebraska” on YouTubeOctober 17th.
The power of the internet was also demonstrated by the
remarkably successful documentary, “The
Secret.” During the first stage of its release, “The Secret” could be
streamed or purchased at the film’s website, but was not available in theaters,
on television, in stores, or on Amazon. During the next stage, the book was launched
by Simon & Schuster in bookstores and online. After the book shot
to the top of the bestseller list, “The Secret” DVD was finally made available
in retail stores and on Amazon. Over 2 million DVDs were sold during the first
twelve months of its release.
- from the “Riot Cinema” collective
Sir Bevois, film premiere competition using social networking
DIY Distribution Pointers:
Breakthrough Distribution www.breakthroughdistribution.com
Eyesoda (the place for indie films online)
From here to awesome www.fromheretoawesome.com
Fully funded web projects
Sponsorship for your own platform – Jeffery’s
Youtube: Add sales department that puts on
adds and divides revenue. (Youtube and Family Guy - they came to Youtube and
asked for distribution with Burger King as a sponsor). Read their blogspot
at http://youtube-global.blogspot.com/ Join
their Partners program at http://www.youtube.com/partners check
out their screening rooms at: http://www.youtube.com/ytscreeningroom and
the creator institute's online Mew York Video School at www.nyvs.com
For inspiration watch Life in a Day, YouTube's crowd sourced
documentary of 2010/2011http://www.youtube.com/watch?v=bT_UmBHMYzg
Bebo don't come up original ideas -
but if production companies go to them with ideas then they help them build a
fan base. 30 people in UK office will take the finished shows and secure
Babelgum – supported by advertising - pays
for content – recently commissioned a documentary about oil in Northern
Current TV – user (viewer) generated films
channel - pays for the short films it broadcasts.
Daily Motion – Started to part fund pilots to
take it to the advertisers and product placement potential, but without
annoying the audience.
Striving for projects like - Rock Corps, Carrot Mob, MySociety,
Show us a Better Way, They Work for You, Fix My Street, Gov2.0,
The BBC's 2.0 Project and
Tom Loosemore's take on it - the BBC's Fifteen
Non-linear Story Telling
The Work of Jonathan Harris -
particularly We Feel Fine and Sputnik Observatory
Gapminder - a fact
based view of the world - stories through statistics
Some Film Case studies:
Blair Witch Project: http://en.wikipedia.org/wiki/The_Blair_Witch_Projecthttp://en.wikipedia.org/wiki/The_Blair_Witch_Project
“Four Eyed Monster”
Arin Crumley and Susan Buice
“Head Trauma” – Lance
Brave New Films – Robert
Greenwald like “Out Foxed”
Crude Movie and “The Age
of Stupid” http://www.crudemovie.net/
Nathan Williams “The Great Trafalgar Square
Freeze” simple, very popular film on YouTube - part of a new wave of income
A swarm of Angels - http://aswarmofangels.com/
In the Shadow of the Moon - http://www.itsotm.com/
Moonwalk One - moonwalkone.com
The Cosmonaut - thecosmonaut.org
Paranormal Activity - www.paranormalactivity-movie.com/
Co-Producer Project - http://news.bbc.co.uk/1/hi/entertainment/7644338.stm
First Orbit - www.firstorbit.org
Exploring the transition from Broadcasters to
Networkers. 4ip and The BBC 2.0 Project 2009-2010
Creating public service products and services that can work in a
(see Tom Loosemore’s ‘The BBC’s 15 web principles’)
E.g. Rock Corps, Carrot Mob (are they templates for other
Other examples - MySociety, Show us a Better Way, They Work for
You, Fix My Street, Gov2.0, Gapminder
The Work of Jonathan Harris
The Work of Jonathan Harris
We Feel Fine - a deep dive into the emotional landscape of the
Internet, with words, pictures, and statistics from millions of individual
bloggers. Watch his talks about his work on TED
An ecosystem of video interviews with hundreds of leading thinkers in the
arts, sciences and technology, covering a wide range of topics.
Intel's The Museum of Me -
documenting your life through your social media postings -
The emergence of Web science
entertainment in the era of networked
Today’s transmedia producers are planning for multiple platforms
from the start.
They design fictional universes that are consistent however the
audience engages on mulitple platforms.
Great Lakes documentary project – Waterlife
documentary project – Waterlife
- Discovery Channel’s “The Colony”
- and Shark Runners
- played by more people than watch the
Search is Going
Moving from a web of documents, pages, computers,
discovery and transations to a web of People, places, devices, recommendations
and Experiences. It's time for more social versions of existing business
models. And that includes film production and marketing. http://www.kpcb.com/initiatives/sfund -
a new $250million fund to invest in entrepreneurs invetning social applications
and services. A new golden age!
Gamification of Life
to second life and back to real life
Epic Mix – skiers game lift pass
attached to FB profile - With an RF tag built into every lift ticket, the
mountain knows where you ride, the lifts you take and the distance you ski, and
Epic Mix doles out achievements based on your accomplishments.
Chromaroma - adding colour to your
journeys - Oyster gaming!
Foursquare and Gondwalla
Agumented reality transmedia projects
Hope is Missing (HiM)
Collapsus - interactive Documentary
Legion of Extraordinary Dancers
Distributed by Paramout Digital on Hulu
Places to web swamp
Wikipedia, Citizendium, and Scholarpedia
eHow is an online knowledge resource with
more than 337,000 articles and
videos offering step-by-step instructions on "how to do just about
everything". eHow content is created by both professional experts and
amateur members and covers a wide variety of topics organized into a hierarchy
Craigslist is a centralized network of online communities, featuring
classified advertisements – with sections devoted to jobs,
for sale, services, community, gigs,
résumés, and discussion forums.
Google Base is an online database provided by Google into which any user
can add almost any type of content, such as text, images, and structured
information in formats like XML, PDF, Excel, RTF, Word Perfect. As of 2009,
it is available to the public as a beta version and the
user interface is available in English and German. If Google finds it relevant
it may appear on its shopping search
engine, Google Maps or
even the web search.
The Changing Face of Journalism
Alan Rudbridger lecture to the Guardian. http://www.guardian.co.uk/media/2010/jan/25/cudlipp-lecture-alan-rusbridger
In the digital world, the distance between impulse and action is shorter than
ever before. The goal of most interface design is to make it vanish altogether.
In this open and immediate world millions of people are realising they can be
publishers, that they don't need intermediaries. The British Museum or the Tate
or the Royal Society or Imperial College don't have to wait any longer for the
BBC or Channel 4 to ring and suggest a programme or series; they can make their
own. The same is true of any writer, scientist, politician, photographer or
activist. To call this the "democratisation of communication", or of
information, or of culture seems somehow inadequate.
are freeing up their data, records and information; museums and galleries
are throwing open their doors; NGOs and charities are becoming publishers;
universities are opening their lecture halls; scientists and corporations are
sharing knowledge in ways which would have been unimaginable even 10 years ago.
And then there is Google, with its ambition to digitise and organise all human
knowledge since time began.
We know that the fastest – almost vertical – growth in amongst all this is what
is rather lumberingly called 'social media'. This involves the power to
generate content and connect with others at low, or no cost; in real time. The
innovation that made all this possible – crudely, developments associated with
Web 2.0 – is now happening alongside the evolution of so-called semantic web,
which wants to find better ways of understanding the meaning of content and how
to find it, organise it and share it.
It was a paper which counted every sale in Rusholme, Didsbury or Cheetham
Today, in print, the Guardian is, even now, the ninth or 10th biggest paper in
On the web it is, by most measurements, the second best-read English-language
newspaper in the world.
The last line shows the worldwide sales of the Guardian – "foreign
agents" – to be 650 copies. We had more readers in Colwyn Bay than in the
rest of the world.
This clever little widget is effectively our digital circulation map today. It
shows you in real time a sample of the people reading the Guardian from just
one of its 32 servers.
Nor is all this being bought by tricks or by setting chain-gangs of reporters
early in the morning to re-write stories about Lady GaGa or Katie Price. In
that same period last year, our biggest growth areas were environment (up
137%), technology (up 125%) and art and design (up 84%). Science was up 81%;
politics 39% and Comment is Free 38%.
- There was the widget we
built to allow 23,000 Guardian readers to help us sort through hundreds of
thousands of documents relating to MPs expenses. The Telegraph's original
investigation was brilliantly executed. But the future will also be about
asking for help in digesting vast and complex amounts of data.
This animated map of what the Twitterati were discussing, or searching for,
showed how – within 12 hours of my tweeting a suitably gnomic post saying we
had been gagged – Trafigura became the most popular subject on Twitter in
Some tweeters beavered away trying to find out what it was they were banned
from knowing. One erudite tweeter uncovered something called the 1840
Parliamentary Papers Act, which no media lawyers seem to know about. Others
pointed to where a suppressed document was available. Others found and
published the parliamentary question we were warned not to report.
Within hours Trafigura had thrown in the towel on the injunction and dropped
any pretence that they could enforce a ban on parliamentary reporting. The mass
collaboration of strangers had achieved something it would have taken huge
amounts of time and money to achieve through conventional journalism or law.
Foursquare And Gowalla - real life gaming / social networking...
Geotags in Flickr - reveal city tourist
Google Zeitgeist lectures on youtube
TED Global (second one ever) in Oxford next month..
Lots of new generators/outlets for video content...
Eg wellcome trust
Royal Opera House - behind the scenes tours and talks, Tate Modern's online top
trumps which features behind the scenes info.
Learning online - lectures posted for free by eveyone from Cambridge Uni to
Harvard, Art talks from Met Museum of Art, Bobotics from MIT, language courses
from Brit Council, OU served 20million downloaded tracks on iTunes U, Apple
says 250mill lecturs have now been downloaded from these sites.
This is transmedia storytelling. Large studios and broadcasters, as well as
independent filmmakers such as Weiler, are building fictional worlds that smash
through their frames on to multiple platforms. Unlike quick promotional
spin-offs, this new type of tie-in extends, rather than adapts, storylines. It
tells various parts of the story using distinct media, exploiting the qualities
unique to each platform. So when you watch a TV show, you might follow a
sub-plot that spills on to the web, then read
the dénouement in a graphic novel. Yes, writers have long created worlds
that go beyond the page -- L Frank Baum did as much with his 1900 novel, The
Wonderful Wizard of Oz, whose story world he expanded into a musical and other
books. But today’s transmedia producers are planning for multiple platforms
from the start. They design fictional universes that are consistent however the
Although Blair Witch was transmedia-shaped, nobody was using the term. That
came in late autumn 2002, when Henry Jenkins, a media professor at MIT, went to
an Electronic Arts workshop held for Hollywood producers and game designers in
Los Angeles. “There was enormous excitement there about the prospect of deeper
collaboration,” says the 52-year-old, whose work on convergence culture became
a touchstone for transmedia theory. “They were groping towards a reimagining of
what entertainment could do in an
era of networked communications, but lacked a conceptual vocabulary.
Meanwhile, in New York, Lance Weiler was planning Head Trauma. He didn’t have
much cash to burn (the film cost $126,000), but wanted an equally engaging
experience. Weiler’s answer? A
pervasive game. “I started to experiment with it not being a film in
traditional form -- how could I put people into the shoes of the protagonist?
How could the story move from one experience to another in ways that created
some degree of social interaction?”
In its limited US cinema release, Head Trauma consistently sold out. So Weiler
planned his next project, a post-apocalyptic mystery called HiM (short for Hope
is Missing), as transmedia from the outset. It launched in 2007 as a blog set
up by a man to find his missing fiancée, Hope Wilcott; the quest became an
alternate reality game. It proved popular: the blog attracted 2.5 million
views. Weiler is now working on an augmented-reality app for Android phones
which continues the story. And this autumn he’ll shoot the HiM feature film
with Ted Hope, producer of 21 Grams.
Transmedia has blurred the divisions within organisations: Locke says that he
stopped making those distinctions long ago (he insists that his commissioning
team is “platform agnostic”). And at the BBC, for example, multiplatform
producers are embedded with the traditional production teams of each show;
television writers work alongside games developers. Even the distinction
between platforms may disappear as audiences increasingly engage with separate
platforms simultaneously. The market-research firm Nielsen estimates that in
December 2009, US viewers spent an average of three hours and 30 minutes
watching TV while also using the internet. That’s nearly an hour longer than a
year earlier. As new technology such as tablet
devices built for sofa surfing and web-enabled TV become ubiquitous,
they will make consuming transmedia content more natural.
The Media Mash uP
Channel 5 and Facebook 17th aug 2010
Channel 5 is to become the first UK terrestrial broadcaster to bring its video
on-demand content to social networking website Facebook. The broadcaster, which
today announced a major shakeup of its operation, reportedly plans to embed its
Demand Five service on Facebook, allowing the site's 26 million UK users to
watch on-demand programmes such as The Gadget Show, Neighbours and Home and
Gadgets and Gizmos
speed - Cannon 7D - 1000 fps video equivalanet
art of the start book
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