a new playground

"Until recently, most 3-D fare produced for non-IMAX movie screens was an afterthought, converted from 2-D. Monsters, however, was designed and filmed with added dimension in mind. … “There hasn’t been any real innovation in the moviegoing experience in many decades,” says (Jeffrey Katzenberg) the Hollywood honcho whose company’s output will be all 3-D from now on. “People want to be excited by something special and unique that happens in movies, something that can’t happen anywhere else.” All the better to compete with pimped-out home media rooms. Other benefits include cleaner prints and a deterrent to piracy. “Almost every movie would benefit from being 3-D, the way nearly every movie benefits from being in color,” he says, though the format has been best served by animation so far. “When James Cameron comes forward with Avatar, it will mark a whole new era of live-action films. When other filmmakers see what he has done, they will want to use it."

Susan Wloszczyna @ 3-D takes a giant leap into the future - USATODAY.com

via @ CinemaTech: What’s Next for 3-D Cinema

3D in every film, in every theater, in every home? is this the future?

"Disney employs a lot of smart people. … They know that inexpensively-produced mobile content is going to be important. They know that user-gen is going to be important (and are just wrangling with the in-house attorneys to see how they can take advantage of this trend.) They know that audiences are fragmenting into millions of niches. They know that there is a new media format out there — the three minute Internet video, which is different from the 30-minute TV show and the 90-minute feature film. I suspect that the big debate inside Disney is, can we remain a Big Media company while also pursuing these smaller, cheaper, quicksilver opportunities? Can we get out of our own way enough to be nimble?"

Scott Kirsner @ CinemaTech: Disney Acknowledges the Obvious: Audience Behavior is Changing, and Competition is Increasing

big media needs to adapt. quick.

"Community, collaboration, and appreciation. These tools are the new tools. These are the good old tools. These tools are where our marketing money also now needs to be spent."

Ted Hope @ Truly Free Film: Art House Convergence Closing Keynote Address

a masterful essay on the specific ways indie filmmaking needs to evolve.

"Before the discovery of the New World, the Old World of Distribution reigned supreme. It is a hierarchical realm where filmmakers must petition the powers that be to grant them distribution. Independents who are able to make overall deals are required to give distributors total control of the marketing and distribution of their films. The terms of these deals have gotten worse and few filmmakers end up satisfied. … Many of these (Old World) executives seem unaware of the larger structural changes threatening their world. They recognize that video-on-demand and digital downloads will become more significant revenue streams but seem confident that they can incorporate them into their traditional distribution model. These executives do not understand the fundamental importance of the internet or its disruptive power. … The Old World executives who do acknowledge the New World can be as dismissive as record industry executives were when they first noticed the internet. Their usual condescending response is the internet may work for “little” films with “niche” audiences. After admitting that the internet represents added competition for eyeballs, they are quick to point out that little money is currently being made from digital downloads or online advertising."

Peter Broderick @ FIRST PERSON | Peter Broderick: ‘Welcome To The New World of Distribution,’ Part 1 - indieWIRE

more @ FIRST PERSON | Peter Broderick: ‘Welcome To The New World of Distribution,’ Part 2 - indieWIRE

peter broderick lays out the rules for the new indie distribution.

"Good isn’t good enough anymore. It used to be that a film with a nice performance, a cool look and a broken story could get through. Not any more. Unless you’re making a tentpole, your movie now has to be very good—in the eye of its intended audience. … Another way of articulating this is: we need to thread the needle twice: once for quality, and then for audience demand."

Mark Gill @ Mark Gill: ‘Yes, The Sky Really Is Falling.’ - indieWIRE

back to quality. and audience. and quality.

"The fact of capturing something on film is no longer the final step, but only the first step in fantasy. Images are like paint, to be finessed and redone, to be layered and bent and shaped just like words. They can be edited at any time, in multiple editions, in multiple versions. Films and shows are no longer monuments but processes without end. Technology turns all nouns into verbs."

Kevin Kelly from The Future of Entertainment - The Hollywood Reporter

films are evolving.

"The genius of the game is that it starts out by making you feel like a protagonist, and eventually turns you into part of an actual team. As it’s progressed, the puzzles have gotten far too complicated for any one player to work out, and an online community called Cloudmakers has convened to solve them and crack the central mystery (the death of an engineer named Evan Chan) collaboratively. … Within the game, there’s a mock academic bibliography featuring a paper called “Multi-person social problem-solving arrays considered as a form of ‘artificial intelligence’ “."

Douglas Wolk @ Signs of Intelligent Life - Slate Magazine

more @ Reality blurs, hype builds with web ‘A.I.’ game | CNN

spielberg’s A.I. and it’s mystery campaign. the birth of alternate reality games in mainstream media.

a new playground

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