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"Ingrid Kopp, director of Digital Initiatives at Tribeca Film Institute opened our minds in her presentation Looking Under the Hood: Creativity, Code and Impact. With the emergence of the “maker culture” the way in which we tell and interact with stories is evolving. Find out how in the video below…"
From Power to the Pixel, a 27 min. video.
A really exciting and forward-looking issue.
Some crucial key points of her speech are:
- Hacking Culture: the web should not only be used but also created. We want to be involved into hacking culture.
New way of working as filmmaker storytellers
- know (basic) coding gives you a new language to talk with web developers and designers when you are working with them
- digital access
"Involve your audience in a meaningful way
Think about design & user experience
Experiment with new tools
Learn to love code
Make the web, don't just use it
And above all keep creating, experimenting & playing"
"Tell me and I will forget,
Show me and I may remember,
Involve me ad I will understand"
Via mirmilla, i-Docs
Gameplay strategies for motivating players largely focus on reward paradigms (“carrots on sticks”) that dangle the sweet enticements of hidden levels, provocative content, and variations on the Sword of A Thousand Truths. But like all of us, don’t games want to be loved for who they are deep down, and not what they have?
Are you looking for an audience for your content? Or are you perhaps looking to expand the audience of your TV channel? Or are you trying to reach a new demographic, a new audience? You are more than welcome to try achieving those things in the traditional ways, but one thing you have to take into account is a whole new channel that has opened up for everyone – the audience itself.
The beauty of looking at the audience as your channel to other members of the audience, is apparent when looking at the equivalent in marketing – propagation planning. The art lies in creating not only for the people you want to reach, but the people you want them to reach. Namely catering for “friends of friends”, in social media parlance.
This is where transmedia storytelling principles can come effectively into play. By creating interconnected stories at the foundations of your content, it is possible to offer the audience content and experiences that could cater to many tastes and become the stories – with inherent tools – that your audience will spread to new audiences....
The TFI New Media Fund provides funding and support to non-fiction, social issue media projects which go beyond traditional screens – integrating film with content across media platforms, from video games and mobile apps to social networks and interactive websites. We’re looking for projects that activate audiences around issues of contemporary social justice and equality around the world and demonstrate the power of cross-platform storytelling and dynamic audience engagement.
Four to eight non-fiction projects will be accepted, each receiving $50,000 to $100,000 in funding. The projects must present a non-fiction story focused on social issues and include an integrated cross-platform or new media component designed to engage and activate audiences in imaginative ways. The fund will include peer support and expert mentorship for producers. Producers from the U.S. and internationally are invited to apply.
Submissions open December 5, 2012 and close February 5, 2013. Fund recipients will be announced in 2013.
Zeega is a community of makers passionate about creating immersive experiences that combine original content with media from across the web.
"Zeega is revolutionizing web publishing and interactive storytelling for a future beyond blogs. The dominant idea of a website is still built on a separation of media, and links between words serve as the defining paradigm for publishing and navigation."
Zeega Productions is a growing series of innovative storytelling projects that span the globe and uncover new perspectives on the human experience. Some works are co-productions with leading partners in the radio, film, journalism and interactive worlds; others are lead by Zeega's internal team.
Transmedia related talks from around the web, educating and informing.
Click here and chose from some of the best transmedia talks, beeing updated all the time.
Here are some of the talk topics you can chose from so far:
Introduction to Transmedia (http://goo.gl/276vw)
Henry Jenkins (http://goo.gl/KwXTv)
Jeff Gomez (http://goo.gl/q4FSx)
Dan Hon (http://goo.gl/zrxyV)
Lance Weiler (http://goo.gl/kamJ9)
Andrea Phillips (http://goo.gl/a7WhE)
Power to the Pixel (http://goo.gl/MZ8BT)
Futures of Enterteinment 3 (http://goo.gl/aEXo3)
Futures of Enterteinment 4 (http://goo.gl/CyQEJ)
Futures of Enterteinment 5 (http://goo.gl/WbLtt)
When talking to creative freelancers, there’s one phrase that’s often repeated: “I don’t mean to sound cheesy or cliché but…” What follows that "but" ranges from waxing lyrical about the ability to control the professional and personal work they do, to an appreciation of work-life balance, to a full-on embrace of occupational joy and diversity. “It sounds cheesy, but if I’m not having fun, I’m not happy.”
On Friday the 26th of October, I attended Portal Entertainments Immersive Writing Lab at Ravensbourne College in Greenwich...
...Mike Jones, Portal’s “Head of Story”, delivered a talk from Sydney. Despite the tortuous Skype connection and numerous false starts, the value of what he had to say was undiminished. Practical advice on writing ‘transmedia’ experiences is still thin on the ground, and (when we were able to hear him) the room eagerly devoured his tips.
Mike explained that writing for multimedia is difficult because there is no discipline or convention yet, because of the convolution of structures and forms the media bring, and because the writing process often feels messy, incoherent & unsatisfying compared to more conventional writing. However, audience expectations are changing, Mike said. They expect the story to be bigger than the platform, with multiple points of entry. For those familiar with writing and reading stories in digital ways, interaction is increasingly the norm.
Some great advice and thoughts on the creation process of transmedia storytelling from Andrea Phillips:
"The core goal should always be to create a compelling story.
Tangibility is a profoundly powerful thing. It’s why we bring back souvenirs from trips, and why we cherish old concert t-shirts, why we buy replicas of rings and swords from movies we love. It’s almost like locking all of the feelings and memories about a certain time and place into that object for safekeeping.
As an artist, of course I want to use that tool for the benefit of my story! And as a businesswoman, if people are willing to pay for that depth of experience, then I should definitely make it available.
You can make entirely nonlinear experiences, but they’re the exception, not the rule. That said, it is common for a minor component of a project to become a vector for introducing people to the greater work...
For an experience that plays out in real time, finding a way to catch up new audience members is an enormous challenge, but an important one if you want to keep your audience growing.
When you’re writing a complex work of fiction, it’s often the case that you’ll have a lot of information about backstory that you aren’t going to pass on to your audience. It might seem like a waste to generate that knowledge and then not use it as content. But sometimes it’s crucial to get your story straight about events and motivations you never want to spell out — you’re creating a negative space, and that space has to remain consistent. In order to preserve consistency, though, you have to be completely clear about what occupies that space.
The best (but still imperfect) advice I’d have is to understand what parts of your story are absolutely immutable, and which you can change. If you can cut something out of the story and still have a comprehensible story, then that element has to go through a harder vetting process. What is it adding? If you can’t put your finger on a rock-solid reason to keep it in, maybe that’s your signal that you shouldn’t include it at all."
Robert Tercek is one of the world’s most prolific creators of interactive content. He has created breakthrough entertainment experiences on every digital platform, including satellite television, game consoles, broadband Internet, interactive television and mobile networks.
Let’s consider the business model issue from the point of view of a creator, a storyteller, a person whose goal is to make a living making a story. From a highly reductionist point of view, we’ve got five key challenges to making a model that works in the modern media age:
Five things learned from Story World Conference:
1. Big media brands are aligning themselves with the transmedia community.
"Phillips is one of the most thoughtful writers working in this space today: she manages to hit the right balance between pragmatism and vision, between describing the conditions under which transmedia producers work today and spelling out the long term potentials of this still emerging form. She has the weight of hard experience behind her, but she is also deft at exploring theoretical and aesthetic dimensions of her project."
In business, storytelling is all the rage. Without a compelling story, we are told, our product, idea, or personal brand, is dead on arrival.
"Results repeatedly show that our attitudes, fears, hopes, and values are strongly influenced by story. In fact, fiction seems to be more effective at changing beliefs than writing that is specifically designed to persuade through argument and evidence.
When we read dry, factual arguments, we read with our dukes up. We are critical and skeptical. But when we are absorbed in a story we drop our intellectual guard. We are moved emotionally and this seems to leave us defenseless.
First, storytelling is a uniquely powerful form of persuasive jujitsu. Second, in a world full of black belt storytellers, we had all better start training our defenses. Master storytellers want us drunk on emotion so we will lose track of rational considerations, relax our skepticism, and yield to their agenda. Yes, we need to tell to win, but it’s just as important to learn to see the tell coming--and to steel ourselves against it."