Category: News (Page 36 of 183)

IFP, Power to the Pixel Pair Up to Bring Cross-Media Forum to NYC

April 12, 2011 / Michael Andersen

For the past five years, Power to the Pixel hosted a Cross-Media Forum at the London Film Festival, seeking to connect the film community with digital innovators exploring new methods of distribution, marketing, and financing for their projects. On April 19th, Power to the Pixel is partnering with the Independent Filmmaker Project to bring the Cross-Media Forum across the pond to New York City, at the Walter Reade Theater.

One of the highlights of the program in years past has been the opportunity to witness pitches for new projects seeking funding, providing open feedback on what financiers and investors are looking for in projects. And the New York edition of the forum will be no different in this respect, with three new film-based transmedia projects slated to be pitched in front of a live audience. The forum will also feature presentations and case studies from leading figures in the transmedia production space, including Jeff Gomez (Starlight Runner), Kevin Slavin (Zynga NY), Lance Weiler (Seize the Media), Ty Montague (Co.), and Nina Bargiel. The Cross-Media Forum will feature a few new networking events to the schedule. On April 18th, the Cross-Media Forum will hold its official kick-off at SPiN with a ping-pong tournament. After the event, Wired is hosting a cocktail party for forum attendees.

You can purchase your ticket online or at the door for $100. If you use the discount code %MISC20D upon registration, you can receive a 20% discount on the price of your ticket.

Tribeca Film Institute Establishes New Media Fund

April 5, 2011 / Michael Andersen

Making an independent film is an expensive proposition that can become even more costly for innovators interested in integrating transmedia storytelling into their projects. Increasingly, content creators are turning to crowdfunding services like Indiegogo and Kickstarter to produce their passion project on a budget that doesn’t require maxing out credit cards. This fall, thanks to a partnership with the Ford Foundation’s JustFilms initiative, the Tribeca Film Institute (TFI) will provide four to eight filmmakers exploring the new media space with $50,000 – $100,000 in grants per project, making the calculus a bit simpler. Applications are due on May 21st, with the final decisions made by September 30th.

TFI is looking for non-fiction projects that focus on issues relating to contemporary social justice and equality. According to Beth Janson, Executive Director of TFI, the ideal project would have a compelling story that focuses on creating a unique and engaging user experience. Janson explains that one of the key issues facing the industry is how to “look at the audience, and reach out and engage with them” in a self-sustaining manner.

More than merely creating an alternative source of funding for projects, the Tribeca New Media Fund aims to partner with the grant recipients throughout the process, leveraging the TFI brand to assist the project through its dissemination and launch. In turn, the grant recipients would share their experiences through an open-source platform for filmmakers and technologists to provide a peer support network and develop best practices. As Janson explains, the goal behind this initiative is about more than supporting the grant recipients:

Beyond being able to fund projects, we wanted the program to be a service to independent filmmakers and technologists to learn about best practices in the field…we’re looking to start those conversations and build those bridges to tap into the independent film community, and marry that with the technology world.

The Tribeca New Media Fund is intended for projects in the advanced development process and beyond.Â While foreign projects are eligible to apply, all proposals must be written in English, and all sample work must have English subtitles. Be sure to check the TFI website for answers to frequently asked questions and the official rules and regulations.

Looking for an example of the kind of project TFI is looking for? Check out the Emmy-nominated filmÂ Collapsus, which merges a documentary about the pending energy crisis merged with a peek into our near future through an interactive film set in the near future. If your project isn’t ready this year, don’t fret:Â JustFilms has committed to increase the fund’s initial $750,000 endowment by $1 million a year for five years, so you’ll have ample time to prepare for next year’s application.

The End of “The Jejune Institute”

April 4, 2011 / Michelle Senderhauf

Clear your schedule. Cancel all of your appointments and hop on the next plane to San Francisco. Head straight from the airport to 580 California Street and tell the receptionist you need to go to the Jejune Institute on the 16th floor. You don’t have much time, as The Jejune Institute is closing its doors on April 10th.

Nonchalance, a hybrid arts consultancy, is the company behind The Jejune Institute. Their website describes the experience as “an urban interactive narrative set in San Francisco. Think of it as a way to discover a new side of the city, while being absorbed in an epic fantasy.” The experience is part alternate reality game, and part public art installment, with a dash of city tour thrown in for good measure.

For someone familiar with alternate reality games, it could probably be best described as an ARG occurring almost entirely in the real world. Almost all of the world-building details are found in the real world rather than on the internet. Instead of visiting a detective agency’s website, you visit the detective agency’s actual office. Instead of scouring a website’s source code for clues, you search through a parking garage. There are phone calls and websites, but they play a relatively minor role in the unfolding narrative, when compared to most other alternate reality games.

2011 Year in Review: Around the World in the First 90 Days

April 2, 2011 / Michael Andersen

It’s been a little over 90 days since I wrote a Year in Review article on the state of alternate reality games in 2010, and 2011 is already shaping up to be another busy year. Read on for a summary of some of the major news items to hit ARGNet’s radar.

Industry News
One of the most celebrated news items to date occurred when Fourth Wall Studios announced that it received $15 million in financing to expand into an alternate reality entertainment studio. Previous companies that secured multi-million dollar investments to enter the cross-platform market like Smith & Tinker and Mind Candy departed from their roots in alternate reality game development to focus on virtual worlds, creating Nanovor and Moshi Monsters, respectively. A recent job posting by Fourth Wall Studios indicates that the company will be retaining its roots in transmedia and alternate reality gaming development, describing the company’s games as “massively multiplayer online games and enhanced reality worlds on transmedia technology platforms” that will serve as “scalable alternate reality entertainment experiences.”

Area/Code Games experienced its own transformation in January when it was acquired by Zynga, the team behind Facebook games ranging from FarmVille to Mafia Wars. Area/Code is a familiar name to fans of alternate reality games for its work on Drop7, an insidiously addictive puzzle game that stole hours of my life away. The game was introduced as part of Chain Factor, an alternate reality game that launched during an episode of Numb3rs. After the ARG’s completion, the casual game at its heart was rebranded as Drop7. In addition to alternate reality games, Area/Code has developed a number of augmented reality games like Plundr that use geolocative data as a factor in gameplay, encouraging players to play in different locations. Area/Code is one of Zynga’s many acquisitions over the past few months, but may signify Zynga’s interest in bringing alternate reality games and augmented reality to the Facebook audience.

Finally, transmedia and alternate reality game developers may have a new source of financing for their projects now that the Tribeca Film Institute has established a New Media Fund to promote cross-platform storytelling as a means of promoting social change. In its first year, the fund will support non-fiction projects by providing four to eight grants of $50,000-$100,000.

A Little Taste of SerennAide from America, 2049

March 28, 2011 / Luci Temple

In America 2049,Â the former land of the free has degenerated into the Divided States of America, where sexuality, religion, speech and culture are all controlled and restricted. On the upside: the entire population is on a drug Â that inhibits aggressive behavior called SerennAide,Â administered automatically through the water supply. This has led to a decrease in crime rates, an increase in the populationâ€™s happiness, and has purportedly helped people to rise above their worst impulses.

Depending on where you stand, this is either a Utopian dream or an Orwellian nightmare. And it is up to you to decide where you stand: alongside the Council for American Heritage (CAH), or with Divided We Fall (DWF).

America 2049 is an immersive 12-week episodic experience that will play out across a new social network as well as using video, fictional websites, and real life locations across the U.S. Once this alternate reality game (ARG) officially launches on April 4th, 2011 at 12am EST, you will be able to interact with characters and other players in real time as you uncover the story and clues. The game is designed to be replayed or revisited at any time, so players who join after launch don’t have to worry about falling too far behind. However, for those interested in a sneak peek, America 2049 has seeded quite a bit of content across a number of websites.

SXSW 2011: Andrea Phillips on Blurring the Lines

March 24, 2011 / Brandie Minchew

Andrea Phillips has excellent qualifications to talk about ethics in transmedia. In addition to designing a number of transmedia narratives, she, or rather, one of her transmedia campaigns, has been condemned by NASA. In 2009, Sony Pictures launched a website for The Institute for Human Continuity promoting Â 2012, their disaster movie for the year. Soon after the websiteâ€™s launch Dr. David Morrison of NASAâ€™s Astrobiology Institute began receiving emails about the site from people who failed to notice the references to Sony Pictures and the film in both text and logos, leading him to declare the site to be “ethically wrong.”

This was not the first time Phillips encountered ethical quandaries in transmedia. Her interest in this issue began in 2001, after finishing an alternate reality game called The Beast. Shortly after the game ended, a smart, empowered, close-knit group of players behind who call themselves “Cloudmakers” were faced with the events of September 11. In the aftermath, some of the Cloudmakers discussed the possibility of combining their skills again, this time to track down the perpetrators of the attack in the real world. This was a source of concern for Phillips. Following a breadcrumb trail of clues in a game does not equate to the skills for dealing with global terrorism. She and other feared that people trying to “solve” 9/11 would in fact be placing themselves and others in danger.

Phillips prefaced her talk with the disclaimer that, while she intended to share some cautionary tales from the history of alternate reality games and transmedia campaigns, her intent was to highlight concerns, not call anyone out on their mistakes or cast aspersions on the campaigns or the industry in general.

So, what are the ethical concerns that today’s transmedia creators should keep in mind? In her talk, Phillips took the audience through some history of attempts at blurring the line along with more than a few war stories, focusing on the risks and consequences of excessive realism in transmedia campaigns. She followed this up with some suggested solutions.