Natan Edelsburg: “[Rachel Webber, Tumblr’s Director of Partnership Development] gave Lost Remote an extremely detailed interview and inside look on how Tumblr fits into the social TV ecosystem, network’s doing a great job on Tumblr and best practices for launching and succeeding on the platform”…

See on Scoop.it - Film Futures

Zan says:

Great example of how YouTube has been used in audience development.
See on nofilmschool.com

See on Scoop.it - Film Futures

Excerpt from Nuno Bernardi’s post:
The distribution and monetisation of content in multiple platforms or mediums is not new. Major studios and networks have been doing it for decades. They were the gatekeepers that controlled the access to audience; they were the ones that had the sufficient marketing power to promote their content to an audience on every single platform that became popular. What the transmedia approach and the digital platforms are bringing to the table that is new, is the fact that independent filmmakers are now able, for the first time, to directly connect with their audience using social media and on-line communities without multi-million dollar campaigns. Indies are now able to create their own franchises.

See on blog.mipworld.com

This month the NHK Science & Technology Research Laboratories is exhibiting prototype examples of the innovations it expects to see in our living rooms in the 2020s, 30s, and beyond, ranging from impossible leaps in screen size and resolution to breathtaking breakthroughs in 3D imagery. It’s a head-spinning display of the presently unattainable that leaves us decidedly unimpressed with our own 1080p 3D sets. Read on to find out exactly how you’ll be watching TV in the future…

See on Scoop.it - Film Futures

Katie Edgerton of MIT makes a great point…

“Different mediums are good for different types of stories. Films, for example, tell streamlined narratives well. In the Hollywood context, this is often plays out as a character learning, or failing to learn, a particular lesson. Television dramas, by contrast, are long form. Because of the length of the serial story (going on for months, or even years), they can become a vehicle for exploring characters or issues over time, with more vacillations and sidetracks than allowed by 90-minute films…Do those features support documentary storytelling in the way we’re used to it? Not really. The web is a great distribution channel for linear documentary films, but if a 90-minute feature was created for the web, I’d argue that it wasn’t really taking advantage of the potentials of its medium—and is in fact, actively working against it.”
See on opendoclab.mit.edu

See on Scoop.it - Film Futures

Henry Jenkins is a academic hero of mine. I’ve read many of his books including an early draft of his latest book, Spreadable Media, which he co-authored with Sam Ford and Joshua Green. What really struck me about this book is the idea that successful (read viral) “content” is increasingly successful because of unauthorized distribution power. The audience may have more power to distribute or circulate content widely than so-called content owners. To capitalize on this potential content owners will need to think about loosening some control and thinking creatively about revenue generation.

I think this is an important point to understand for creators of content. As storytellers, they provide the framework for the story. But really the story is created in the minds of the audience. Understanding this makes it easiere to people to understand that audiences are not simply recipients of your ideas. They are partners, collaborators, shapers, extenders, transformers and distributors of your ideas/stories. It seems unnatural to me to restrict the collaborators in the success of your work from making use of their greatest potential - their ability to widely spread your work. It’s up to you to figure out how to do that and still make a bit of cash. Not easy, I realize but there’s lots of potential.
See on siliconrepublic.com

Excerpt of Adam Westbrook’s blog post:

In the last year I’ve become convinced that the only way to make sure your journalism has the impact it deserves on a crowded web is to, as Brian Storm says, ‘bet the farm’ on quality.

It was this idea that led to the creation of ‘Inside the Story: a masterclass in digital storytelling by the people who do it best’. It’s a collaborative ebook I’ve produced with the help of some of the best digital journalists working on the web…

The Canyons is a contemporary thriller written by Bret Easton Ellis, produced by Braxton Pope and directed by Paul Schrader.

Zan Chandler: It’s not just the the emerging filmmakers who are seeing crowdfunding as an avenue to greater creative control. These are established folks who are recognizing that the filmmaking world is changing.

A short version of Liz Rosenthal’s lecture during TorinoFilmLab, hosted by BoostHbg with support from Film i Skåne.

Zan Chandler: Wish I’d seen this before I finished up my masters thesis which covers a very similar subject.

Fox to stop distributing film on celluloid in 2013.