“Most Insane Immersive Movie Experience EVER”

“Check out this guy’s room totally change into the movie he is watching! No SFX, no post production, no cuts, everything you see here is 100% for real.

We were funded by the Video Store of PlayStation® Store (http://www.greatfilmsfillrooms.com) to make a series of movie related videos using ‘Immersive Imaging’ which takes 3D projection mapping as its starting point, but gives the viewer a supercharged experience with the help of the PlayStation Move controller.

In the past, projection mapping worked only from a single, static view point, and thus was very limited. By attaching the PlayStation Move to the camera, we can track projections to screens in real time, enhancing the effect of spatial deformation and false perspective on the projections and allowing viewers to look round (virtual) corners, bend walls, create a hole in the wall, or remove the walls altogether to reveal vast expanses of virtual worlds.”

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Case Study: Pink Floyd – The Wall

For my case study assignment, I investigated Pink Floyd (Roger Waters)’s “The Wall”, a musical-based project dating back to 1979, but still very much alive.

Check out my presentation here

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“We Are Many”

We Are Many is a documentary about the never-before-told story of the biggest protest in history, on 15 February 2003, and its legacy, through the Arab Spring to the Occupy Movement. The day that saw an estimated 30 million people in over 700 cities around the world, gave birth to a new global social movement.

What we are witnessing around the world today with the 99% in America, the Indignados in Spain, UK Uncut, the Arab Spring, is directly linked to what took place on February 15 2003. From Wall Street to Wisconsin, from Madrid to Athens, and all across the Middle East, people are rising up to make their voices heard. This is a story of anger, passion and remarkable people striving for justice and democracy. It’s a story of huge change happening in our time.

We will bring you the real story, the people’s story, including interviews with those whose protest experiences catapulted them into founding ‘people powered’ campaigning movements. Most of the people who helped create the biggest human gathering ever seen in one day are unknown ordinary people reaching for the extraordinary.

We will demonstrate the remarkable links between the 2003 protests and the Arab Spring, as well as with the occupation of cities across Europe, and now in America too. The Occupy Movement in America and rest of the world is the latest chapter of one of the great untold stories of people power. Our cameras are there to capture the historic moments.

Join them and be a part of it.


via (Kickstarter)


Ken Loach – World-renowned film director is a Patron of the project
Danny Glover – Actor and activist is a Patron of the project
Brian Eno
Jesse Jackson
Richard O’Brien – Writer of the Rocky Horror Show
Medea Benjamin – Code Pink
Mark Rylance – British Actor
Lindsay German – Stop The War Coalition
Tariq Ali
Ricken Patel – Co-founder of Avaaz
Leslie Cagan – United for Peace and Justice (UFPJ)
Harry Belafonte
Noam Chomsky
Tim Robbins – Actor
Arundhati Roy – Author

War on Want
Stop The War Coalition
Code Pink
Global Exchange
38 Degrees
The Tipping Point Film Fund
Puma Awards
TED Fellowship Team
Sundance/BritDoc Good Pitch
Film Forum
Joseph Clark Charitable Trust

Producer-Director Amir Amirani has gathered a stellar team to make this film happen.
Rachel Portman – Academy Award winning composer
Immy Humes – Academy Award nominated US Producer
Taghi Amirani – Executive Producer and TED Senior Fellow
Laura Hastings-Smith – Producer ‘Hunger’, Cannes Camera D’Or winner
Frances Stonor Saunders, Co-Producer
We are also very pleased that PBS in America through Independent Lens, have expressed an interest in acquiring and broadcasting the film, and UK distributor Dogwoof have expressed an interest in distribution.


In the USA, we are proud that our 501 (c) 3 Fiscal Sponsor is the renowned Film Forum in NY.

All pledges made to this film are 100% tax deductible.

We have already received media attention in The Guardian, The Times, Alliance Magazine, the world’s leading philanthropy publication, and in the leading European Documentary magazine Dox, writing about Pitches in Europe.

You can visit the We Are Many Website, and our Facebook page, as well as Twitter: @15Feb2003

To discuss playing a greater part in the film, please contact us directly on:


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Premiere: One Millionth Tower High-Rise Documentary Takes Format to New Heights

“One Millionth Tower” premieres Online TODAY:


The story of Canadian high-rise residents reinventing their homes in the sky, the makers of new film One Millionth Tower reinvented the documentary format.

Premiere: One Millionth Tower High-Rise Documentary Takes Format to New Heights:

Watch it HERE!

The movie, which makes its online premiere above, was carefully crafted to be watched on the internet. It uses interactive tools to illustrate the Toronto residents’ ideas about how to improve the decaying high-rise in which they live. Powered entirely by HTML5 and open source JavaScript libraries, One Millionth Tower is loaded with photos and information from all over the web, and exists in an online environment that is about as close to three-dimensional as something on a flat screen can get.

“We’ve added an entire new layer to the web and One Millionth Tower is one of the first examples of that,” said Mark Surman, executive director of the Mozilla Foundation, the force behind the Popcorn.js toolkit that powers the film. “In the same way we all got really excited when you could highlight a word on a page and create a hyperlink … that’s happening now with film. I think of this as the first real web-made documentary.”

The resulting film is unlike any before it. It can be watched without much interaction, but it’s much more fun to play with it (see “How to Watch This Movie” at right). Some aspects change even without viewer input: For instance, the time of day and weather in the film change based on actual conditions in Toronto.


One Millionth Tower, which is premiering on Wired.com the same day it premieres at the Mozilla Festival in London, is not just a static story recorded on film and then edited together for audiences. It exists in a 3-D setting made possible by a tool called three.js, which lets viewers walk around the high-rise neighborhood. Moving through allows viewers to see the current state of urban decay, then activate elements to show ways the residents would change their world, like an animation showing where a new playground or garden would go.

The interactive movie is chock-full of photos from Flickr, street-views from Google Maps and changing environments fueled by real-time weather data from Yahoo. Everything is triggered by Popcorn.js, which acts like a conductor signaling which instruments play at what times.


One Millionth Tower wasn’t always supposed to be so immersive, or so revolutionary. When she started the film, director Katerina Cizek planned to make a traditional animated narrative documentary about reinvigorating urban housing complexes, showcasing residents’ ideas for improving their homes in the tower. But the film took a dramatic turn this spring when web developer Mike Robbins got his hands on it. “He said, ‘This is a movie about a 3-D space, so let’s make it in 3-D space,’” Cizek said in an interview with Wired.com. “Our jaws dropped open.”

‘This is a movie about a 3-D space, so let’s make it in 3-D space.’

After that revelation, the documentary, part of a series of media projects produced by Canada’s National Film Board called Highrise, was completely re-imagined. Robbins began collaborating with Bobby Richter, who worked on a Flash-based web documentary for Cizek called Out My Window before moving on to Mozilla’s Web Made Movies project and Popcorn. What they created amazed even those who had been working with Popcorn from the beginning.

“The way One Millionth Tower uses Popcorn is a great example of a use we didn’t anticipate,” Brett Gaylor, project lead for the Web Made Movies initiative, said in an e-mail to Wired.com. “Back when Kat approached us, we were very much thinking in terms of integrating other web services — like Twitter and Google Maps — into and alongside video. When Mike showed us how he was using it to trigger the camera in a 3-D scene, a light bulb wet off.”

As futuristic as One Millionth Tower is, it’s influenced by a project the publicly funded National Film Board started back in the 1960s. Called the Challenge for Change, a major initiative of the undertaking was to use then-new film and video technologies for making documentaries about social issues. The Highrise program was intended as a way to re-envision that project with modern tools, said National Film Board head Tom Perlmutter. “That’s our greatest responsibility: to constantly take risks, constantly push boundaries,” Perlmutter told Wired.com. “If we’re not doing that, then we don’t deserve to be funded.”

One Millionth Tower is just the beginning. Nearly everyone from the film board and Mozilla notes that the greatest innovations in Popcorn-enabled web movies will be made by future generations of filmmakers. Even Cizek — who accepted a Webby honor with the words, “The internet is a documentary” — acknowledges the best is yet to come. “What we’ve done with One Millionth Tower is not the future,” Cizek said. “It just points to it.”


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Transmedia for Social Documentaries


Transmedia as a buzzword has taken on a life of its own beyond the film world, translating to mobile campaigns, television shows, advertising, and even books. Whether called transmedia, multi-platform, cross platform or just cross media, filmmakers from all genres no longer just make films. Aspiring filmmakers in the social documentary sphere are facing the prospect of a media campaign of overwhelming proportions. But innovative and passionate socially-minded individuals are taking chances and creating blueprints for future filmmakers. Social documentary projects are increasingly more than social and more than documentary.

The transmedia world as demonstrated by pioneer Lance Weiler can be daunting for the grassroots social documentarian. In the ultimate expression of an immersive storytelling experience, Weiler created an ongoing narrative beginning with film, and in its latest iteration, as a real time interactive gaming experience taking place in Park City. Through cell phones, audience members became active members of a Pandemic 1.0 population being tracked online.

Weiler’s genius is a sense of realism and interactivity that is echoed by bigger studio-backed films, such as 2012 and the now infamous website for The Institute for Human Continuity, which calls into question the ethics of realism.

Others are more obviously immersive than real, but with similar effects. Consider the evolution of the NBC series Heroes, which expanded storylines and created new characters exclusively online and with audience preference. The Heroes narrative also draws heavily from the storytelling techniques of comic books, and by design attempts to lure that audience into the television world. The show’s Facebook page also boasts over two million fans.

Social documentary filmmakers, however, are looking to share a realism that is, well, actually real. Because of the narrow focus and objectives of these projects, the sense of endless creation demonstrated above seems impractical. Ali Samadi Ahadi demonstrates otherwise. While his distinctive documentary The Green Wave doesn’t move much beyond the film platform, it incorporates the unique creative elements of transmedia for a much different experience. Ahadi uses a mix of animation, on the ground footage, and narrative from actual Iranian bloggers to weave the story of the green revolution from the perspective of the Iranians who lived it.


Still others approach social documentary by first tackling other spaces. Newcomer Jacqueline Olive is taking on the sensitive issue of lynching. The Always in Season Island project had roots in museum exhibitions to raise awareness of the prevalence of lynching in American history all the way through the 1960s. It’s a history that still has profound effects on the families and descendants of lynching victims.

Olive, an alumnus of the BAVC Producers Institute, expresses the environment for lynching through a Second Life world that somewhat controversially asks visitors to place themselves in the crowd attending a lynching. The interaction takes place both in and out of Second Life in online spaces, but the lynching experience enables participants to examine their own capacity for change. The documentary film, Always in Season, is still in production.

Another route for participation in the social documentary experience is through citizen journalism. Also still in the production phase is Leah Mahan’s film Turkey Creek, about the endangerment of an idiosyncratic and historic community of coastal Mississippi. The community of descendants of emancipated slaves is struggling to protect the wetland environment in the wake of rapid urban development.

The struggle is universally felt across the Gulf Coast and consequently inspired the Bridge the Gulf Project, which marries social awareness with cultural preservation. Community members are matched with citizen journalists to capture their individual stories and contribute to the larger media campaign for what Mahan describes as “cultural survival, environmental justice and sustainable development.”

Derrick Evans, a Turkey Creek community leader, expressively describes the community’s aspirations to “diversify the picture, diversify the voice.” Ultimately, this is what transmedia strategies can do for social documentary.

Transmedia doesn’t just create interactive spaces for awareness but also for creative expression that strengthens community bonds. Roland Legiardi-Laura teaches Bronx teens creative writing and poetry and picked up on the life of teenagers as lived through smart phones. Beginning with a documentary film, To Be Heard, about the lives of three teenage poets, Legiardi-Laura developed the idea for an online space and mobile app through which teens can read, share and edit called Power Poetry.

To Be Heard: Trailer from Edwin Martinez on Vimeo.

What these and many more social documentary projects demonstrate is that regardless of the transmedia scope, filmmakers must be strategic from the start. Any transmedia endeavor is also a collective work, whether it’s with techies or community members. For social documentaries, transmedia is about manipulating media to develop effective engagement and impact. Storytelling, and consequently transmedia, is the tool for activation.

Angelica Das is the Associate Director at the Center for Social Media. The Center for Social Media showcases cutting edge media strategies through film programs, online content and the annual Media That Matters conference. Follow her on Twitter @ctr4socialmedia.

via (Tribeca Film)

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4 Essential Facebook Page Apps to Improve Communication With Fans

The number of Facebook applications can seem a little overwhelming at times. While Facebook doesn’t share an exact number, an independent website called AppData monitors trends for over 100,000 Facebook applications, which is a lot to sift through.


As a business, trying to determine which of those apps can help your organization can be daunting. To get you started, here are four essential Facebook apps that allow you to better reach and communicate with your audience, as well as save you time for all those other things you have to do.

1. Tweets to Pages — Display Your Twitter Feed

Tweets to Pages, which has 1.2 million monthly active users, will create a tab on your Facebook Page that displays a timeline of your company’s most recent tweets. This is a great feature for providing additional, real-time information to Facebook users who don’t have a Twitter account and for avoiding the annoyance your fans would feel if you were to constantly stream your tweets to Facebook as wall updates. The app is very easy to set up, and the free version allows you to adjust the number of tweets that show on the Tweets to Pages tab.

If you want to upgrade to the paid version, you can better control your content limits, choose a color scheme, add a banner and allow comments on your tweets.

2. Static HTML: iframe Tabs — Create a Custom Landing Page


Static HTML: iframe tabs, which has 61.8 million monthly users, will simplify the process of making a custom landing page by automating many of the steps. Forget about creating a developer account and your own application — this app provides copy and paste textboxes for your custom HTML, CSS and JavaScript. It also offers checkboxes to remove the scrollbars and to enable Facebook’s FBML. If you want to incentivize Likes on your Page, the application enables you to “like-gate,” and show different content to those who have and haven’t “liked” your page.

It’s worth noting that you will still need to host your own files, and you won’t be able to remove the scrollbars for any design over 520 pixels wide and 800 pixels tall.

3. ContactMe — Add a Contact Form


ContactMe, with 180,000 monthly active users, adds a tab on your organization’s Facebook Page with a contact form. This allows anyone visiting your Facebook page to easily get in touch with you at the very moment when they’re most interested.

The biggest advantage of this app is its customization options. You can choose whether you’d prefer to show your company’s contact information or social media icons for Facebook, Twitter, LinkedIn or Skype. You can also adjust, add, remove, reorder and require specific fields through a simple user interface on contactme.com. And of course, there’s a paid option to remove the ContactMe branding, offer a custom success message and receive text message alerts when someone submits the form.

4. RSS Graffiti – Automatically Post Updates


RSS Graffiti, with 1.5 million monthly users, allows you to automatically post wall updates any time there’s a new item in one of your specified feeds. For example, if you publish to a company blog every day, RSS Graffiti can automatically post an excerpt of the article with a direct link onto your Facebook page’s wall. That saves you the time and effort of creating a new wall update every day to distribute your company’s content.

Just like ContactMe, the customization options for this application make it stand out. You can automatically post more than one RSS feed, adjust how the post looks when published, schedule how often the feed is checked, and specify how many posts should be published per check. And most importantly, with all these options and more, the configuration interface is still easy to use and intuitive.

via (mashable)

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Disney and YouTube Sign Video Partnership

Disney and YouTube are set to announce a content partnership worth $10 million to $15 million, The New York Times reports.


Under the terms of the agreement, YouTube will invest millions of dollars on an original video series produced by Disney and distributed exclusively through a new co-branded channel on both YouTube and Disney.com, according to the Times.

Disney has had a couple of bad quarters, and it’s hoping to re-capture its audience through new distribution channels. It wants, as co-president of Disney Interactive James Pitaro told the Times, to “go where (its) audience is.”

The deal also makes sense for YouTube, which is always on the lookout for more original, quality content and strong brand partners. However, Robert Kyncl, YouTube’s global head for content partnerships, emphasized that YouTube will be a neutral distributor and is not planning to go into the production business.

YouTube recently announced a big push to bring more premium content to the site, with a slew of new video channels. Google has reportedly spent $100 million on the deals for the new channels, and its partners include celebrities such as Madonna and Ashton Kutcher, as well as media companies like The Wall Street Journal, The Onion, SB Nation and Demand Media.

via (mashable)

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