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Paula Bernstein: "New York-based production company Starlight Runner Entertainment has been tasked with uncovering the heart of the TMNT story as the resurrected property expands to new platforms."
Go Jeff Go!
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Randy Astle: "TFI has been supporting digital, transmedia, and multimedia projects for years through programs like its New Media Fund and hackathons, and now TFI’s Director of Digital Initiatives Ingrid Kopp (who was recently interviewed by Filmmaker) has found a way to bring some projects into a physical space to coincide with the film festival in lower Manhattan."
A look at the 5 interactive video projects projects from the Tribeca Film Festival's Storyscapes. The image above is from Empire Uncut.
MIT Open Documentary Lab: "The first [in] our series of interviews with digital storytellers, realized in collaboration with Filmmaker, here are the team behind the interactive storytelling platform Zeega."
An excellent look at interactive storytelling. You might also like to read Introducing Storyscapes: A New Celebration of Interactive Storytelling over at TribecaFilm.com ....
Zeega is revolutionizing web publishing and interactive storytelling for a future beyond blogs. With Zeega, you can use any media in the cloud, transform the entire screen into your playground, and share your interactive creations with the world.
revolutionizing web publishing and interactive storytelling for a future beyond blogs. With Zeega, you can use any media in the cloud, transform the entire screen into your playground, and share your interactive creations with the world.
Sounds pretty powerful.
Audiences have never been hungrier for experience, but these productions need a rigorous approach, says Miriam Gillinson
Great advice from a very pertinent perspective.
This a new age for enjoying performances. We invited the radio into our homes. We opened our door to televisions, to the internet and everything else that has come with it. But this is a reversal in the arts, where we the audience are being invited in. Theatre is no longer set in building- but like heart that defines the home, the audience will now define the performance.
How can a director produce an effective interactive theatre performance?
Why do many interactive performances fail to fulfill their purpose?
Mandy Rose: '“How does the documentary genre connect to visual art, music or the digital revolution? To robots, poetry and interactive installations?” What’s “…the link between documentary and innovation, experiment and adventure.” This was the territory of Expanding Documentary' ...
In this video interview, Flatland director Ralph Upton and producer Adrianne Roberts take Transmedia NZ's Anna Jackson on a journey through the new multidimensional and interactive theatre work.
Ben Kersey: "It’s hard to wrap your head around the enigma that is Lost, a show that spans 33 years across 121 episodes and six seasons, but what if you looked at it from a different perspective?"
Michael Andersen: "Tonight, the Primetime Creative Arts Emmy Awards held its annual awards, where the Outstanding Creative Achievement in Interactive Media – Original Interactive Television Programming was awarded to Fourth Wall Studios for their interactive program Dirty Work" ...
Christina Radish: "Rick Heinrichs Talks About Interactive Transmedia, Collaborating with Creative Directors Like Tim Burton, His Directorial Debut for THE GAMBLERS Pilot & More" ...
Laura Mandengue: "Canada is MIPCOM 2012's Country of Honour. From now until then, we'll be highlighting the nation's most creative projects, via the CMF/FMC. Enjoy!"
DRC: Part 1 can be found here.
Katherine Brooks: "Scott Snibbe is a New York-based media artist whose innovative vision has taken the art and music worlds to new depths of interactivity. From giant, digital public installations to touch-screen based art, the visual artist behind musicians like Bjork and Passion Pit is bringing together art, music and technology in groundbreaking ways."
Angela Watercutter: "TheBlu, a 'social digital ocean' that launched Friday, is an ambitious web app that turns computers into interactive nature documentaries" ...
"Why talk about the HTML5 standard, about Flash, about programming in a [i-Docs] symposium about interactive documentaries? Because in the digital world the technology moulds the content. The narrative possibilities will sooner or later clash with the technological ones. The distance between what is imagined and what is produced is marked by the latter."
DRC: A look at 3 editors for interactive content: Popcorn Maker, Klynt, and 3WDOC. You'll find the slideshow that accompanies this discussion here.
"Sorcerers of the Magic Kingdom is a new interactive experience that debuted on February 22 at the Walt Disney World Resort in Orlando, Florida"...
Read how the game combines a treasure hunt with interactive trading cards, and more than 90 minutes of original animation, to create an immersive experience for the entire family.
Eddie Rehfeldt: "Breaking News: the search for a better narrative format for the internet is now available. Ben Decker once said “the internet is not just another TV pipe” and this was made apparent at SXSWi in Austin last week."
This article contains a great list of links to narrative content which has been "made for engaged impact" and will be of interest to all digital storytellers.
Create compelling content for multiple devices, immersive web-based experiences from data driven stories (infographics on visual video steroids) to interactive tablet documentaries. Eddie Rehfeldts report from SXSW - "There are mind-bending interactive story approaches available right now."
Apprendre à raconter avec les spécificités du transmédia ...
This is an online interactive documentary about how to make an online interactive documentary.
Filmmaker, Atalanti Dionysis, has also created an excellent website around this web series which she hopes will be used "as a resource for emerging filmmakers and [she hopes it] generates conversation around transmedia & interactive multiplatforms for documentary and that it will act as a hub for collaborations and networking opportunities."
Jonathan Richards: "Deciding what text to put on an interactive button can be difficult, not least because of the unusual grammar of the 'interactive voice'. Here, we propose a test to use when in doubt."
A decidedly quirky, but interesting, post.
add your insight...
Thinking about the language aspect of using technology.
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Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
Anita Li: "Fans of 007 get the chance to live vicariously through their favorite British spy in a new digital campaign for James Bond film, Skyfall" ...
Joe Berkowitz: "Perhaps the best thing to come out of MTV’s prioritization of "reality" TV over music videos is that more artists have sought more creative means to tell their stories--including releasing interactive videos online that transcend the TV broadcast experience" ...
The Guardian: "In this post, we look at what makes the interface of the Second Screen tick and how we tackled some of the problems which we've come across" ...
Stuart Dredge: "Accessed at www.bravestman.com, the video sees you swiping up and down to guide a space shuttle, pulling planets together, and pinching to travel through an asteroid field: all soundtracked by Womack's arresting vocals."
Rae Ann Fera: "Toronto-based interactive agency uses a multi-layered narrative experience to test the limits of where technology meets story" ...
Musa Syeed: "[...] I felt that as a filmmaker, I had reason to fear technological advancements in the field. New media/interactive/transmedia was making a medium I revered as a child seemingly obsolete, banishing motion pictures from the majestic big screen to pathetic, paltry iPhones."
DRC: Read how Musa Syeed now views the interactive realm as "an essential part of making a traditional film."
Traditional documentaries are morphing into interactive experiences with the help of new technology and support from big names in the film industry...