McDonald’s Happy Meal resists decomposition for six months By Brett Michael Dykes
Posted by: Glover |
Communicating your transmedia experience
Posted by: Glover |
This is a quick post but I thought this template might be useful for some people when they’re explaining their transmedia project. You’ll notice that this is focused on the experience rather than the technology: there’s no mention of platforms or business case or even audience. So there’s more that needs to be communicated to get the full picture but this is a cool way to get your point across in certain circumstances.
This is my Transmedia Radar Diagram – use it to communicate your transmedia experience to interested parties… but probably not your audience 
Note that there’s no absolute scale for the four axes, it’s their strength relative to each other. Of course, if you’re comparing projects then they need to compare across projects too.
Interview: Walter Murch By Michael Wohl
Posted by: Glover |Interview: Walter Murch
- Nov 1, 2001
Interview: Walter Murch
Walter Murch is one of the most admired and respected editors of our time. His inspiring book, In the Blink of an Eye, is a definitive theoretical text on editing. More than just a great film editor, he is also one of the most renowned sound mixers in the history of cinema. His editing credits include The Conversation, Julia, Apocalypse Now, The Unbearable Lightness of Being, American Graffiti, The Talented Mr. Ripley, and The English Patient (for which he won an unprecedented double Oscar for sound and picture editing). His credits as a writer and director include the dark, moving (and woefully underrated) Return to Oz. He took time out from cutting Kathryn Bigelow's K-19: The Widowmaker for this interview.
Michael Wohl: What do you think makes the film medium unique?
Walter Murch: I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century. It's partly because cinema synthesizes all of the arts: it's photography, and in a certain sense painting, and it's theater, and it's architecture, music, and the novel--all rolled up into one. And then--at its best--it has become something else which synthesizes and transcends all of its parts.
How Social Media has Changed the Game for Documentary Filmmaking
Posted by: Glover |Alexander Hotz is a freelance multimedia journalist and public radio junkie based in New York City. Currently he teaches digital media at Columbia University’s Graduate School of Journalism. Follow Alex on Twitter at @hotzington.
When filmmaker Andrew Lampard began promoting his documentary Two Summers in Kosovo last fall, he didn’t pay much attention to social media. Lampard used his personal Twitter (
) and Facebook (
) accounts to keep his friends informed, but he didn’t use any social media tools to promote the movie — something he regrets today.
The reshoot
Posted by: Glover |Great advice on reshooting
http://workbookproject.com/newbreed/2010/10/05/how-i-learned-to-love-the-reshoot-learning-lessons-in-diy-filmmaking/