"If you are using the word 'transmedia,' you have wasted a lot of dollars on business card printing," Elan Lee, chief of design at Microsoft's Xbox Entertainment Studios, said in his keynote speech at "Power to the Pixel," now in its seventh year...
"The digital world of interactivity describes an area of interdisciplinary teamwork that prospers on the promise of “collaborative dy-namics.” Perry Bard’s reworking of Vertov’s Man with the MovieCamera (1929), which fulfils his vision for cinema production anddistribution, is indicative of the creative power of such endeavours. Bard invites users from around the world to replace Vertov’s originaldatabase resources by uploading their own content to a designated website.
by Stavros Alifragkis
"I don’t like the idea of thinking about media as being new. Look at how technology allows us to manipulate the document today; a document of an event is treated as if it were a realistic paint-ing. I’m using the database as a tool and not as an invention. Vertov was asking us to think about the nature of the document alreadyfrom the beginning of the 20th century. The database for me is a toolthat allows my project to happen, but, I am retaining a linear struc-ture, in other words, I am adhering to the movie, I am not allowing people to grab shots from wherever and reorder the film"Perry Bard
"The session was called "Unlock the Power of Fans" at Transmedia Los Angeles’ monthly meetup earlier this week, but I’ll remember it as the Fanthropology of Theatrics, because I learned so much about the way audiences are using the new collaborative storytelling platform that I was there to represent.
I kicked off the discussion with a presentation, embedded here, about how theatrics works, and was then followed by Jay Bushman, co-executive producer of ‘Welcome to Sanditon,’ the sequel to the phenomenally successful web series ‘Lizzie Bennet’s Diaries,’ a modern updating of Jane Austen’s ‘Pride and Prejudice. ‘Sanditon’ used Theatrics to invite fans to create their own characters who could engage with the story over a 14-week run.
The third panelist was Kris Longfield who describes herself as a “fanthropologist.” Such a perfect conflation of terminology! You instantly know what she does: she studies the behavior of online fan communities.
My client Theatrics has built a remarkable platform, but like any software tool, it’s only as good as those who use it – like world-class interactive visionaries Jay Bushman and Margaret Dunlap from Pemberley Digital (the fake company in their stories, which is now the real production company behind these great Austen transmutations.)..."
"The word convergence has been picking up steam in the marketing world. It may even be the “big data” term of 2013. Yet, the word means different things to different people....
THINK OF YOUR BRAND AS A SERVICE AND EXPERIENCE
You’re no longer in the business of selling stuff; you’re filling consumers’ needs. As a marketer, you’re creating new products and apps and always-on ecosystems, not just a series of campaigns based around a calendar of product launches. Nike is the classic example, with its ecosystem of fitness apparel, gadgets like FuelBand and services like Nike+ that immerse the user in the company’s innovation and create an end-to-end fitness solution. Special K, one of our clients, is still in the cereal game and it sells of a ton of it. But it’s also in the health, fitness and weight-loss games. It took its Special K challenge and turned it into a digital weight-loss platform...."
Digital Foundry on why Wii U dedicates 1GB to its background operating system - and how Durango could see that double...
Ask just about any games developer what they want they want most from a console and almost always the response will be "more memory" yet the trend in console hardware development is to dedicate ever-increasing amounts of RAM to the operating system. Why?
Perhaps the most high profile example of this recently is the Nintendo Wii U - 1GB of memory sounds positively luxurious compared to the sub-512MB available to developers of PlayStation 3 and Xbox 360 games, but it's actually just 50 per cent of the total onboard memory of the machine - another 1GB set aside for the operating system. And it's not just Wii U either - though established figures aren't in the public domain, both 3DS and PlayStation Vita dedicate generous amounts of memory to the OS - RAM which could be gifted to developers.
"Game devs covet RAM more than any other console component, but the trend is towards dedicating more to the background OS. Platform holders are adapting to the growing demand from gamers for their machines to do more"...
An entertainment studio in Hollywood has launched a unique multi-platform distribution engine, titled Galahad, which allows film, television, publishing, gaming and marketing industries to develop digital content around releases in one swoop.
"Ingrid Kopp, our director of digital initiatives at TFI, moderates this panel that includes the participants of this year's inaugural Storyscapes at the Tribeca Film Festival. This new section of the fest celebrates interactive transmedia projects across genres.
Here Hugues Sweeney (A Journal of Insomnia), Brent Hoff, Alexander Reben (Robots in Residence), Casey Pugh (Star Wars Uncut), Michael Premo (Sandy Storyline) and Chris Milk (The Exquisite Forest) talk about their projects and describe the process of bringing work from the web to an immersive, installation space at a film festival."
Simon Staffans: "Rob Pratten had a brief but excellent post up on Transmedia Coalition the other day, entitled ”The 5Rs of Mobile in Transmedia Storytelling”. To recapitalize briefly, the gist of the post were that" ...
The amazing worldwide upsurge of start-up accelerators and incubators was reflected at last week’s Digital Hollywood conference, which featured three packed sessions exploring the topic.
I moderated a “Think Tank” on incubating digital content that featured Ana Serrano, Founder of ideaBOOST (which I advise), Richard Wolpert, cofounder of Amplify.LA and Chris Gartin, cofounder of io/LA
It used to be simple, there were accelerators and there were incubators. (Here's the difference).
But, check out some of the other programs represented at the DH conference and you'll see a wide range of models that are emerging to meet a lot of different needs than the venture backed early stage seed accelerators, as exemplified by Y-Combinator and TechStars. (DH speakers came from Originate, Cross Campus, Tipping Point Partners, Turner's Media Camp, Portland Innovation Experiment (PIE), Mucker Labs, and Idealab New Venture Group.
Along with crowdfunding, the accelerator phenomenon is the most-buzzed-about innovation in the start-up world, inspired by the success of the investor-backed Y-Combinator and TechStars that apply a combination of mentoring, seed investment, and exposure to help launch tech startups....
The future of movie storytelling has more to do with the technology outside of the movies than within, according to one transmedia expert, who says that we should expect stories to be revolutionized by modern technology in the same way that the printing press changed everything.
If you’re a moviemaker whose primary focus is creating the best movie you can imagine, the current movie industry has some bad news for you: That’s not enough anymore. Speaking at this year’s Cross-Media Forum in the United Kingdom, Sean Stewart – whose Fourth Wall Studios has worked on creating interactive marketing for movies such as The Dark Knight Rises and AI: Artificial Intelligence – said that what is needed now are more filmmakers who want to create the best worlds they can imagine..
...Reflecting the nerd demographic seemingly at the center of blockbuster movies these days, Stewart’s talk was called “Storytelling V: The Audience Strikes Back,” and described the shifting relationship between audiences and fictions in a world where everyone has smartphones, tablets and access to the Internet. He cited a recent Google survey that revealed that 77 percent of audiences are dual-screeners – That is, using another electronic device while also watching television – and suggested that, in order to maintain a close connection with their audiences, storytellers will have to learn to spread their talents across various media....
Ahead of this week’s Power To The Pixel Conference and Market in London, Screen looks at how Canada’s transmedia work is the envy of other nations.
While much of the world is still argues about what “transmedia” exactly means, some countries have been producing it in quantity for some time. One of the leaders among these is Canada. Since the 1990s, Canada’s government funding bodies have aggressively supported and promoted innovation in digital media, and the country is now the home of some of the top transmedia producers in the world.
As a result, Canadian speakers will feature prominently in London’s Power To The Pixel conference, running October 16-19. One of Power To The Pixel’s guest speakers will be Loc Dao [pictured], the head of digital content and strategy at the National Film Board of Canada’s Digital Studio. Dao has won dozens of awards for his digital media work, which include Bear 71, Gods Lake, Waterlife and The Test Tube With David Suzuki.
“We do get great feedback about our work here,” Dao says. “I hear people asking a lot if they can be Canadians and come work with us. We do think of ourselves as being somewhere in between the European and the American industry. We’re kind of a unique hybrid that you can’t really compare to either one. We’re very lucky in having this institution, the National Film Board of Canada, with our mandate and ability to produce these unique works.”..
Andra Sheffer, Bell Fund
Pierre-Mathieu Fortin, Head of Creation, Online Content, at Radio Canada
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