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What is the future of storytelling? Immersion, interactivity, integration and impact

What is the future of storytelling? Immersion, interactivity, integration and impact | Film Futures | Scoop.it

Martin Bryant: "As consumer technology evolves at an ever-quickening pace, opportunities for new forms of storytelling are emerging. Experimentation is all well and good, but what do audiences actually want?"


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Film Futures
Signals along the road to possible futures for indie film
Curated by Zan Chandler
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▶To all you Special Creative Snowflakes, you're not that special

Discuss this video: http://www.reddit.com/r/CGPGrey/comments/2dfh5v/humans_need_not_apply/ http://www.CGPGrey.com/ https://twitter.com/cgpgrey ## Robots, Etc...
Zan Chandler's insight:

The news has been full of reports about robots and automation, and how computers are better and faster at doing many of our jobs. IBM's Watson is assisting doctors in diagnosis, robots build our cars, Google's self-driving cars, etc.

 

Daniel Pink, in his book A Whole New Mind, posits that work that demands human creativity will fair much better. His argument is that computers cannot replicate our innate ability to recognize patterns and generate novel ideas.

 

CGP Grey's new video "Humans Need Not Apply" does a great job of pulling these threads together into a compelling story. However, at the 11 mins, 16 secs mark, he challenges the notion that the creatives will be immune to the effects of automation. Further supporting this idea, researchers at Rutgers University have created an algorithm that analyses painting to discover networks of influence. http://ow.ly/AArRP. We've been reading news articles written by bots for a while now too.

 

Maybe not today, but someday we may be sitting down to watch the latest production by a future iteration of IBM's Watson computer.

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A Brief Look at Texting and the Internet in Film

Is there a better way of showing a text message in a film? How about the internet? Even though we’re well into the digital age, film is still ineffective at depicting…
Zan Chandler's insight:

Some great insights into the ways filmmakers are depicting on film how we use social media.

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Public arts funding: towards plan B

Public arts funding: towards plan B | Film Futures | Scoop.it
Let's create the kind of solid public support that makes cuts to the arts politically dangerous or, even better, unthinkable
Zan Chandler's insight:

While this is directed at the arts sector, I don't think the cultural sector in Canada is immune, given the huge amount of government funding it receives.

 

If Plan A is for the cultural sector to provide better evidence to government of its value and impact, the author suggests a Plan B:

 

• Create relationships rather than transactions with their communities
• Extend their reach and improve ratings – bums on seats do matter; so does critical and public response to their works
• Make their governance reflect their community
• Be clear about their artistic and civic purposes and shout about them in plain and simple ways
• Not treat public funding as a proxy for public engagement
• Use language that everybody understands instead of advocacy-speak
• Be as creative and innovative in their organisational life as they are, or as they should be, in their artistic endeavours
• Use their spaces as much as possible – public buildings should be used every hour of the day and night
• Collaborate as much as possible, with other local arts organisations, community organisations, public agencies and businesses
• Be financially careful and able to show they give great value for money
• Show they care
• Care

 

This calls for a shift in focus from funders and intermediaries to audiences. If the audiences of your works care about you as producers and creators and you care about them, I think you are better off than if they don't even know you exist.

 

Read more:

http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/jan/13/public-funding-arts-plan-b

 

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The Periodic Table of Storytelling

The Periodic Table of Storytelling | Film Futures | Scoop.it
The basic building blocks of storytelling
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Hmm, interesting.

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Why Crowdfunding is Marketing & Not Financing | From Search to Screen

Why Crowdfunding is Marketing & Not Financing | From Search to Screen | Film Futures | Scoop.it
Reframe crowdfunding as part of the marketing plan for your indie film or video project and see what happens. Best practices outlined from this perspective.
Zan Chandler's insight:

Quote: "Google defines marketing as “the action or business of promoting and selling products or services, including market research and advertising” and financing as “provid[ing] funding for (a person or enterprise).” When you look at the things you can do with and around a crowdfunding platform and whether they fall more into one definition or another, a clear pattern emerges."

 

Crowdfunding as a marketing platform is more powerful than crowdfunding as a financing platform. And if you've already done your hard marketing work (and built a fan base), crowdfunding can bring even more beneficial.

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cyneth's curator insight, December 18, 2013 2:19 PM

How to view a crowdfunding in a new light.

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Understand your audiences better with participatory design research techniques

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Zan Chandler's insight:

I contributed a series of case studies on how participatory design techniques were used by digital entertainment companies (taking part in the first cohort of the CFC Media Lab's ideaBOOST program) to understand their audiences and customers. The case studies help to illustrate some of the design research techniques profiled on this Design Research Techniques Map.

 

This resources is ideal for content producers who are looking to understand their audiences (and other stakeholders) better. Whether your goal is to:

 

- identify your audience and what matters to them;

- understand your audience more deeply and how your project will fit into their lives or enchant them;

- Co-create with your audience/customers: for instance involve them in the development of your project;

- build or expand a fan base that you can leverage for marketing and promotional purposes; or

- retain an audiences that drops by but doesn't stay.

 

These techniques can help you connect with, develop a greater understanding of and partner with audiences, customers and other stakeholders that are important to your film, transmedia project, game, website, technology product.

 

An on-going project, the website and map are produced by Professor Suzanne Stein of OCAD University and the CFC Media Lab. The technique write-ups were based on work by graduate students in the Strategic Foresight and Innovation and Digital Future program at the University.

 

Website was designed by Pearl Chen and Karma Laboratories.

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From Rebels To Mainstream: Madonna and BitTorrent Join Forces

From Rebels To Mainstream: Madonna and BitTorrent Join Forces | Film Futures | Scoop.it
Zan Chandler's insight:

"BitTorrent Bundles is a storefront for BitTorrent-powered digital releases–books, films, audiobooks, etc.–the terms of which are set by the artist who created the content. "Play what you want. Pay what you want," is the motto.

 

The long term plan here is to create a full-fledged storefront that any creative can use. That's still in the future, but next week BitTorrent plans to make a big step forward for their new platform."

 

 

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Your audience is not really yours to gain, keep or own.

Your audience is not really yours to gain, keep or own. | Film Futures | Scoop.it
When you say, "my customers," or, "my readers," you're using a shorthand, but you're also making a mistake. We're not yours. We're ours. Your readers aren't going to spread an idea merely because you ask them to.
Zan Chandler's insight:

When speaking about the relationship you may think you have with your audiences (customers, readers etc) Seth Godin makes an important point: "...in the long run (and all the important stuff is in the long run) those individuals, that tribe, is going to care about what they always care about--itself. If you play a part in their version and vision of the future, then sure, go along for that ride. But no, you don't own an audience.

 

Sometimes, if you're lucky, you rent one."

 

I believe that it's important for content producers to think of their interactions with audiences as investing in the development of a long term relationship, as opposed to transactions. The former is about establishing that content producer and audiences are part of a "tribe". There's a concordance between what the producer wants/believes in and what the tribe wants/believes. This is a better basis of a long friendship than "hey dude, buy my film."

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VHX: Direct Film Distribution Platform Gets Big Backers

VHX: Direct Film Distribution Platform Gets Big Backers | Film Futures | Scoop.it
VHX, the direct video distribution platform today announced a $3.2 million Series A financing round led by Union Square Ventures.
Zan Chandler's insight:

"By enabling creators to run their own video stores, we can give them more control, full access to their data, and the opportunity to build more meaningful relationships with their customers."


Another platform being explored by content producers to develop direct relationships with audiences.

 

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The Crowdfunder's Bible

The Crowdfunder's Bible | Film Futures | Scoop.it
Instead of digging through my email every time someone asked for advice, I decided to aggregate them here: a comprehensive how-to of first hand experiences and tips from the crowdfunding world. Do ...
Zan Chandler's insight:

LOTS of good resources for when you are contemplating a crowdfunding campaign.

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Why Zach Braff's Film Going to Cannes Shows the Future of Film Financing

Why Zach Braff's Film Going to Cannes Shows the Future of Film Financing | Film Futures | Scoop.it
They may not have realized this but more than forty-six thousand individuals – many of them ordinary Americans with no prior film industry knowledge – had a direct bearing on what has been happening this past week thousands of miles away at the...
Zan Chandler's insight:

Good point about the importance of fan support: "Seen in this light, the likes of Kickstarter and donation platforms such as IndieGoGo can be seen as existing in a symbiotic, co-dependent relationship with equity financing. Those donations not only serve as early proof of concept they also make the business proposition far more palatable to equity investors hoping for a return on their risk."

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Top 7 fool-proof indie film marketing tactics

Top 7 fool-proof indie film marketing tactics | Film Futures | Scoop.it
Low-cost and free film marketing tactics from a successful DIY filmmaker. These top 7 tips are the basics that every filmmaker should know to build their audience -- learned in the trenches of self-distribution.
Zan Chandler's insight:

Great advice for those interested in marketing for films.

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Luca Brigada's comment, May 6, 2013 12:15 AM
A very interesting article a vadevecum about how make a better marketing for movies
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Top Video Trends & Opportunities: Mobile, Social, Ads & TV Everywhere [Report]

Top Video Trends & Opportunities: Mobile, Social, Ads & TV Everywhere [Report] | Film Futures | Scoop.it
Video is a powerful way to reach audiences both for publishers and advertisers. Marketers already know people are watching online video more than ever. A new Adobe Digital benchmark report reveals what, when, and how people are watching.

Via miradatv, Tina Stock
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The Power Struggle between Cable and Internet

The Power Struggle between Cable and Internet | Film Futures | Scoop.it
You can’t call them “cable companies” anymore. For the first time, the number of broadband subscribers with the major U.S. cable companies exceeded the number of cable subscribers, the Leichtman Research Group reported today. Among other things, these figures suggest the industry is now misnamed. Evidently these are broadband companies that offer cable on the…
Zan Chandler's insight:

Quote:

"...broadband is purely about access, while cable is about content...With broadband, the cable companies don’t have to put anything through those pipes themselves. They just have to be the plumbers. They may not like the way Netflix and its more than 36 million U.S. subscribers are eating into their TV businesses. But Netflix and other streaming services are helping drive demand for broadband—a service cable operators can provide without having to serve up any content themselves at all. "

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7 Critical Strategies Hollywood Must Learn from the NY Times Innovation Report

7 Critical Strategies Hollywood Must Learn from the NY Times Innovation Report | Film Futures | Scoop.it
The New York Times innovation report that was leaked earlier this month, is a must read for anyone who works in media. It is indeed one of the key media documents of this age with a lot to teach a ...
Zan Chandler's insight:

Some great ideas for Hollywood to keep from being disrupted, from the innovation team at the NY Times. But what can indie producers learn from this? A lot of the same things!

 

Shift your goals, thus your efforts

- shift your perspective from pleasing funders and distributors to developing a relationship with our audiences. A lasting and on-going relationship.

 

Stay current and ahead of the competition

- while your head is buried in your latest production, make sure someone is keeping an eye on how audiences are engaging with content. What shift are happening out there? What old practices are waning and what new practices are on the rise?

 

Create audience strategies

- gosh I hope you have already been doing this. If you haven't, hop to it! And if you have, yay for you! How well do you know your audiences? Where do they hang out? What do they like? Who influences them? Who on your team engaging with them when you are hip deep in your latest production?

 

Hire and encourage digital talents

- this goes without saying...if you don't have someone on your team who thinks like a digital native, go out and get one. And then listen to them. They might know more about 21st century content production and audiences than you do.

 

Aggressive internal questioning

- you're a content creator, you already do this, right? Rather than questioning your creative or artistic ability, shift over to asking yourself "what limitations am I placing on myself by doing things the way I always have? What assumptions about my audiences need to be questions and validated? What biases do I bring to my work that might be getting in the way."

 

From http://storydisruptive.com/2014/05/30/7-critical-strategies-hollywood-must-learn-from-the-ny-times-innovation-report/

 

Via http://www.scribd.com/doc/224332847/NYT-Innovation-Report-2014

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Digital Canada 150: Wasted opportunity

Digital Canada 150: Wasted opportunity | Film Futures | Scoop.it
As part of the celebrations for Canada`s upcomming 150th birthday, the Canadian federal government has released its Digital Canada 150 strategy paper, and while it`s not all bad, at the same time there is not an awful lot to recommend it. Especially considering it was four years in the making. My sense is that its…
Zan Chandler's insight:

The Digital Canada 150 strategy reminds me an awful lot of Canada's International Audiovisual Co-production Policy. A policy document that took forever to be released, said very little that was new or forward looking, and focused squarely on the economics, with little regard to other important aspects of the ecosystem.

 

 

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How Netflix Reverse Engineered Hollywood

How Netflix Reverse Engineered Hollywood | Film Futures | Scoop.it
To understand how people look for movies, the video service created 76,897 micro-genres. We took the genre descriptions, broke them down to their key words, … and built our own new-genre generator.
Zan Chandler's insight:

Deep insights into how Netflix understands the content of movies and TV show as well as the subgenres of interest to viewers. There is so much geeky goodness in here. If you like your content production analysis topped with syntactic theory, computational analysis, design and systems thinking, this will appeal to you. And if you just want to understand better what Netflix does, this'll do it too.

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Matthew Schuler | Why Creative People Sometimes Make No Sense

Matthew Schuler | Why Creative People Sometimes Make No Sense | Film Futures | Scoop.it
Zan Chandler's insight:

So much of this resonated for me.

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Theater Chain Selling Movie Ticket/Digital Download Bundles

Theater Chain Selling Movie Ticket/Digital Download Bundles | Film Futures | Scoop.it
Part of what makes the cost of a movie so unattractive to some consumers is the fact that you can only see the movie once (unless you go hopping from theater to theater, which we most certainly wou...
Zan Chandler's insight:

How many times have you paid to see a movie at the movie theatre and then a few months later paid to see it again on iTunes or On Demand? I've done it a bunch of times. Not every movie gets that treament. But if the story is good, performances engaging and good discussion is sparked, yes I will fork over the cash to see it again, in the comfort of my own home.

 

Cineplex theatres are offering this type of deal in Canada. If movie goers wish to they have 48 hrs after seeing the moving in the theatre to take advantage of the Movie Ticket/Digital Download bundle.

 

Might this tactic work only with blockbuster movies? How about indie films? Canadian Content production? What if movie goers got more than just the chance to play the movie again? What if they got access to more content, or to the filmmakers? What if filmmakers proposed this type of partnership to Cineplex? 

 

 

 

Thanks to Anthea Foyer for the scoop.

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What's your 'Level of Discoverability'? Attracting and Retaining Audiences in Times of Multiplatform - Trendscape Blog, CMF

What's your 'Level of Discoverability'? Attracting and Retaining Audiences in Times of Multiplatform - Trendscape Blog, CMF | Film Futures | Scoop.it

'In this new interconnected and heavily cluttered media context, the first thing broadcasters must do is come up with a formula that will enable their content to rise above all the noise. The authors of the “Discoverability: Strategies for Canada’s Digital Content Producers in a Global Online Marketplace” study commissioned by the Canadian Media Production Association (CMPA) call this winning formula a content’s “level of discoverability.”...


Via siobhan-o-flynn
Zan Chandler's insight:

On the subject of attracting, engaging and retaining audiences, some insights from the Canada Media Fund's Watch Squad about:

 

Social media as the new remote control

Attracting and retaining attention

Building a thriving community

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siobhan-o-flynn's curator insight, September 10, 2013 4:51 AM

useful post & links here

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The 80 Rules Of Social Media [INFOGRAPHIC] - AllTwitter

The 80 Rules Of Social Media [INFOGRAPHIC] - AllTwitter | Film Futures | Scoop.it

"So you want to get good at social media?

You need to have a plan. A guidebook. A strategy.

You need some rules.

And rule number one? That’s obey the rules. As for rules number two through eighty, check out this fantastic infographic courtesy of Jeremy Waite, head of social strategy at Adobe."


Via Susan Bainbridge
Zan Chandler's insight:

Lots of great points of relevance to content producers. Now that you have the opportunity to connect with your fans and audiences, engage them in good and meaningful conversation.

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cyneth's curator insight, September 8, 2013 3:06 PM

Check out this fantastic infographic courtesy of Jeremy Waite, head of social strategy at Adobe.  Rule #32 - rules are meant to be broken

KB...Konnected's curator insight, September 25, 2013 5:03 PM

Interesting!

Charles Newton's curator insight, September 28, 2013 10:56 PM

Thought provoking ideas here - worth a read.

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When are you better off to take the distribution deal?

When are you better off to take the distribution deal? | Film Futures | Scoop.it
The trouble with most independent filmmakers who want to go the direct distribution route (or need to) is they do not have these 3 things in place.
Zan Chandler's insight:

In a tough media landscape when new avenues for action and empowerment present themselves, we often leap toward a new strategy without being properly prepared. Sheri Candler has wise words on the subject of direct distribution. It's not sufficient to have the desire to control the exploitation of your film, you also have to have three key things: a clearly identifyable audience; sufficient (human and financial) resources and access to the right distribution expertise. 

 

Read the whole post at http://www.shericandler.com/2013/07/15/who-is-my-audience/

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10 Ways To Turn That Script Into A Movie ASAP

10 Ways To Turn That Script Into A Movie ASAP | Film Futures | Scoop.it
We often wait and wait, strategizing and hoping, but for what?  Most scripts never get made.
Zan Chandler's insight:

Ted Hope's "short cuts" to production.

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KPCB Internet Trends 2013

The latest edition of the annual Internet Trends report finds continued robust online growth. There are now 2.4 billion Internet users around the world, and the
Zan Chandler's insight:

Mary Meeker's Internet Trend report has some great info of relevance to creators/producers, in particular transmedia folks. Lots of info on how folks are interacting with photos, video, sound and data - important elements of transmedia storytelling.

 

There's interesting data on smartphones, tablets as well as "-ables" (wearables, drivables, flyables, scannables) and much more. Worth the read, highly bookmarkable.

 

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Why Filmmakers Need to Act More Like Rock Stars

Why Filmmakers Need to Act More Like Rock Stars | Film Futures | Scoop.it
Marc Schiller, Founder and CEO of BOND Strategy and Influence, has been publishing several articles sharing his expertise after working with several direct-to-fan distribution campaigns.
Zan Chandler's insight:

What acting like a rock star means here is taking responsibility for your brand, your work and your future.

 

This idea was at the heart of my Masters thesis. Creators have the opportunity to build a fan base that will stay with them throughout their careers - not just people who will come and go depending on the project. This is what a rock star does.

 

Each project they embark on is an expression of their brand and an opportunity to gain new fans and deepen their relationship with existing fans.

 

A committed and engaged fan base provides a creator with more power to shape her future.

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