Chapter 27
New Media
INTRODUCTION
I’m not proud of the fact that I’ve always been pretty far behind the times when it comes to computers, the Internet and anything technical. I learn what I need to, and don’t do much exploring beyond that point. I only recently signed up to be part of a social networking site (and am rarely on it as it is), have never downloaded a film or video off of the Internet, have never played a video game, have never voted for a dance team or performer competing on a TV show and had never been to a virtual reality site (until I started doing research for this chapter). I was vaguely familiar with the concepts of new media and multiplatform media, because I had to provide an overview in my other book and was able to interview a couple of friends who know a lot on the topic. I attended a Producer’s Guild seminar last year and have read some articles. But I had no idea just how vast my lack of knowledge extended until I really started concentrating on this topic. What I’ve been discovering has been pretty amazing, and this chapter only represents the tip of the iceberg — a mere summary of what’s out there. I’m not sure where I’ve been while all of this has been evolving — under a rock maybe? What it does makes me think of is my sister-in-law Susie when she was learning how to use a computer years ago. I was showing her how to do something (one of the few times that I could teach someone else how to do something on a computer), and as a way to express her amazement at what the computer could do, she looked at me and said: “How does that little guy in there know how to do all of that?” I feel the same way about what I’m calling newer media. I’m not quite sure know how it all happens, but I’m pretty impressed.
WHAT IS NEW MEDIA?
In the previous edition of this book, I had a page-and-a-half chapter entitled “Interactive,” which is now utterly outdated and inadequate. New media, transmedia, multiplatform media, cross-platform media, convergent media, consumer-generated content – any and all of these relevant terms represent a technology-driven field that’s been around for a while but is now exploding in new directions every day as far as imaginations and technology will take it. It has produced an entire shift in the way we tell stories, entertain, reach consumers and deliver content.
New media has been defined as the use of digital technology as a means of telling and distributing stories and information. That makes sense but hardly seems sufficient for a medium that has turned our industry upside down and produced new studio and network divisions, separate new studios, production companies, producers and agents; new cutting-edge websites; new forms of social and inter-active networking; new approaches to advertising and brand integration; a new level of interactive television; revolutionary new games; new avenues for distribution and exhibition – and entire new worlds (albeit virtual worlds).
Platforms are the ways in which we deliver content, which include theatrical features; television; interactive television; mobile devices; the Internet; toys; books; computers console, handheld, mobile and online games and amusement park rides. Each platform has its own language, culture, methods, limitations and objectives, but what they all have in common is the goal of drawing consumers into a good story, eager to jump ahead to the next part of the story. Transmedia or cross-platform producers understand what makes each platform distinct and how a story works best for each – creating a unique experience at every point in the narrative.
We’re living in an on-demand society with community-based audiences that wants to create and participate n their own entertainment. By combining social networks with virtual environments, individuals can now become part of a story, play out their fantasies, enter fictional universes and connect to like-minded people throughout he world.
Although it’s true that many of the shows we watch on TV and the films we see in theatres can be downloaded and viewed on a computer or cell phone, transmedia (also referred to as cross-platform media) is a term used to describe the way in which an original narrative can progressively be told across multiple platforms, where each part contributes a significant piece of the overall story – allowing fans to get involved and sometimes even participate in the outcome. It also relates to a film or TV show whose story lines (often subplots) continue on other platforms, such as interactive websites and video games. TV shows like Heroes, Lost, Law & Order: Criminal Intent and CSI and film franchises such as Star Wars, The Dark Knight and The Matrix are prime examples and also represent what many refer to as convergent media – the fusing of multiple media technologies.
Unlike more traditional media that we pay for, much of new media is free and keeps consumers coming back for more, because it’s instantaneous and shared. The fact that digital content can travel from one platform to another (although not all content shot digitally is suitable for all platforms), gives writers, producers and directors innovative new ways to relate ideas and tell stories. And those who succeed possess a fundamental understanding of what people want, how to create the content and which platforms to distribute it on.
People still watch television and go to the movies, but they now have more entertainment choices than ever before, and consumption habits are changing. Young people and family audiences in particular are creating an increasing demand for content across multiple platforms, many of whom prefer their entertainment mobile and easily accessible. Although movies that appeal to broad audiences are still being made, the growing trend is to make films that appeal to niche audiences that can be shared and appreciated by a community of individuals who are connected online.
Whether it’s using digital technologies to tell stories, educate or market and sell, the jobs in this field involve: new media/digital producing, creating program content, visual effects and animation, (for the Internet and mobile devices), interface design and computer programming. For those interested in marketing, new media is a powerful tool in the advertising and launching of new films, products, businesses and causes. Carolyn Miller, author of Digital Storytelling: A Creative Guide to Interactive Entertainment (Focal Press) says that this is a creative and fun industry for writers. When I asked her about writing jobs in this field, she used the Internet as just one example, pointing out that writers are needed for story-based serials, games, animated stories, journalistic outlets, online magazines and promotional purposes. She explains that when you write for new media, whether it’s for a video game, the Internet or other platforms, you’re developing characters, writing dialogue and dealing with story structure and plot points in just the same way you would for more traditional venues, though some new skills are also involved. She said some writers take on the larger task of becoming content designers (or “info architects” as they’re often referred to in informational or training projects), and are involved with the overall thrust of a project, while others may just be hired to write chunks of text, dialogue or clues. She said writers are needed to write for all forms of new media.
CROSS-PLATFORMS
A few years back I was up for a job working on what I thought of at the time as a multimedia project. I had hoped that this would be my foray into the world of merging medias and new technologies, but unfortunately, the job and I weren’t destined to be. It was, however, my first introduction to a cross-platform project, and I still find it fascinating.
The project centered around the adventures of two young men as they traveled to seven different cities, cultivating the art of seducing women. It was shot like a reality show for a multiple-episode web series. A blog was created so that people could write in and comment on the exploits of these two guys. At the same time, they were also popping up on YouTube spots and on My Space comment boards. The interaction from their fans shaped the content of future episodes, and the journey itself created a movement among a like-minded audience. While all of this was taking place, a companion online game was developed. This was a project fueled by a motion picture marketing strategy that promoted the webisodes, the blog, the game – and ultimately a product (deodorant) that had been integrated into the storyline and promotional campaigns. This wasn’t just a matter of cross-platforms; it was also a cross-promotional opportunity, operated by a team comprised of a showrunner, a digital producer, an art department, a road crew of 15, two editorial teams, an assortment of account executives, a publicity group and a game company. And it was extremely successful.
Another good example of transmedia, or crossplatforming, stems from popular TV programming. Using back stories and subplots, storylines are continuing in the form of interactive websites, webisodes (content produced specifically for the Internet) and mobisodes (content produced for hand-held, mobile devices). You can go to www.nbc.com/heroes/evolutions/ for an online extension of the imaginary universe of the series Heroes or to abc. go.com/shows/desperate-housewives/interactive-tour to visit the Desperate Housewives in their homes on Wisteria Lane. There are several series-based sites that offer companion web content such as blogs, behind-the-scenes show information, show trivia, games, puzzles and contests. You can become part of a community and connect with other fans via message boards, text your favorite characters — stay involved online, off line and/or via cell phone.
The same holds true for feature films. Take the film The Matrix: beyond its three feature films, the franchise produced a series of comic books – online and in print, a series of anime movies and a video game. And Star Wars hits the bonanza with what’s been described as a sprawling narrative tapestry offering six feature films, a web-based series called The Clone Wars, games, DVDs, apparel, other merchandise, fan-based communities, blogs, books, crafts, collectibles, conventions and more.
Even content created solely for the Internet, like the sci-fi web series Afterworld (www.afterworld.tv)is relying on other platforms and the interactivity of its fans. Another project I found that clearly epitomizes the power of multiplatforms and interactivity is called Live Music. It was the brainchild of Hollywood veteran Yair Landau, whose company Mass Animation has a website that enlists animators from around the world, and Intel, who sponsored the launch of a Facebook page where animators were able to access a collaboration application built on the platform and work together to create a five-minute animated short. Amateur animators from 101 countries signed up for the group experiment, and Facebook users voted on their favorites. The completed short was released in November of 2009 by TriStar Pictures (along with the animated adventure comedy Planet 51) and represents more than 50,000 people who signed up for the group experiment that’s being called the largest global collaboration in animation.
STUDIOS AND NETWORKS
The entire entertainment industry has been shifting to accommodate new media. Many studios and networks have New Media divisions; new studios and production companies have been formed to create digital, multiplatform content; new media producers and online units have become part of existing crews and unions and guilds have created new regulations and contracts governing their members’ involvement in the medium (although it seems that there are still a lot of kinks to be ironed out, and negotiations will continue to be debated in conjunction with future bargaining agreements). You’ll also find top agencies putting their packaging skills to use in new media, developing consulting businesses with major brands on digital opportunities and finding new ways to fuse tech companies with Hollywood.
There aren’t a whole lot of standards yet, as everyone is still feeling their way, but they’re coming. What hasn’t changed, though, is that intellectual properties still have to be protected, and ownership, rights and reuse issues still have to be addressed and secured.
All of the major networks have interactive websites where you can get more information on any number of topics or stories discussed on one of their programs, download full episodes (that have already been aired) onto your computer or mobile device, watch trailers, join message boards and comment on shows, see photos taken from your favorite shows, view video clips and behind-thescenes footage, play games, enter contests, shop for show-related merchandise, listen to music that was played on a particular show and be directed to specific series’ websites (for even more menu selections).
CBS, in addition to their regular website, has a separate interactive site called CNET that incorporates news, technology, business, sports and entertainment. At cbs. com/socialroom, you’ll find an interactive site that allows groups of viewers to watch and interact collectively while watching streaming TV content. Called social viewing rooms, the service combines elements of a chat room, video conferencing and standard live streaming to give fans a more communal experience when watching the network’s content online. It’s the next-generation social media platform that lets users engage with each other and the content they’re watching. A group of friends will be able to join a virtual room to watch a synchronized playback of popular programs while chatting, taking polls, quizzes and even throwing animated tomatoes and kisses at the screen.
The studios have joined the band wagon as well, each with their own interactive websites and updated distribution and marketing models. Warner Brothers, for instance, has worked out a deal to distribute their product through branded channels on Dailymotion, Joost, TiVo and other major sites. And Warner Bros. International Television Distribution entered the new media landscape with the formation of a branded services division that will operate Warner TV channels around the world on an array of platforms.
Sony Pictures Entertainment created Crackle (www.crackle.com), a multiplatform next-generation video entertainment network that distributes digital content, including original short form series and full-length traditional programming from Sony’s vast library of television series and feature films. Crackle reaches a global audience through its online and mobile distribution network.
Disney has incredibly impressive interactive websites, but if you’ve got children, check out disney.go.com/disneyinteractivestudios/ in particular. It’s pretty remarkable. The site offers a large variety of games ’ videos and downloads. It allows users to create their own drawings and comics; create their own webpage; visit and learn more about Disney characters; create greeting cards and calendars; listen to Radio Disney; view backstage video clips; buy Disney products and merchandise; take advantage of tips on crafts, recipes and family activities. They have games and activities for preschoolers and much more. Disney has also created something called DGamer, which is an online community that uses the built-in WiFi capabilities of the Nintendo DS TM to allow players to connect with other Disney gamers across North America.
The previous few examples are just the tip of the iceberg. All of the studios are creating digital content to lure audiences to their feature films via interactive and social networking sites, message boards, games, etc.
With the growing gravitation toward broadband content, several former top motion picture and TV executives,agencies and production entities have switched gears to create new broadband studios. Their combined experience encompass the fields of film, television, digital media, technology and advertising. One such studio is 60Frames Entertainment (www.60frames.com), which is creating and distributing original entertainment, spanning every platform, all genres and all audiences. Another is Generate (generatela.com), which created a studio production arm that develops original content, a management division that nurtures talent and a branded entertainment division. There’s Vuguru (www.vuguru.com), which produces and distributes story-driven content for current and emerging new media platforms. And there’s a studio called Worldwide Biggies (wwbiggies.com), a digital entertainment studio that’s creating properties for young adults and families. They design properties, launch on the web and live on multiple media platforms — online, TV, film, mobile and consumer products.
NEW MEDIA PRODUCERS, STUDIOS AND PRODUCTION COMPANIES
Savvy new media producers grasp the technology and understand the narrative. They know how to tell a story in five or ten minutes, respect each platform and realize that producing a viable image for a three-inch monitor is different that producing one for a widescreen TV or theatre screen. Also valuable to this medium are writing, live action, animation and marketing skills.
Depending on the project, new media producers and their crews must have the expertise to budget, schedule, coordinate and supervise animators, artists, technicians, live film or video production, editors and a generally intensive post production process. It’s the responsibility of the project manager to make sure that all graphic and live action elements are interfaced properly and work well together. Software programmers also play a role in the development of these projects, as codes (or labels) must be written for each element (or “asset”) integrated into the program – every sound, action, effect, piece of animation, piece of text, every button, etc. These assets create thousands of files and the need for asset management. As the field expands, so does the number of people qualified to oversee the medium.
What all projects have in common is the need to start with a good story and script, cast actors, hire a crew, rent equipment, props, wardrobe, etc. When you get to certain projects, however, production guidelines have to fit that specific platform. Shooting mobisodes, for instance, requires brighter lighting. Night shots don’t work; neither do wide angles, and small details get lost. But close-ups are good and so is shooting at slower speeds to avoid a stuttering effect. It’s also vital to avoid crowding the soundtrack with unnecessary noises that could confuse viewers listening through an earpiece.
When shooting live action sequences to be cut into video or online games or when shooting webisodes and mobisodes that are offshoots of other series or films, it’s important to match the lighting, the look and the shooting style of the original material as much as possible.
Existing TV series will often hire new media producers during pre-production or principal photography, so they can simultaneously create digital content to further the series on other platforms using the show’s existing sets, actors and writers. They work with traditional production staff and crews during pre-production by collecting content ideas before deciding on which distribution platforms to utilize. During production, they shoot additional footage – source material for the web, games, mobile devices, etc. During post production, they create original edited material and extract exclusive pieces from main unit footage. To start the buzz, they reach out and start engaging targeted audiences. The completed content is then distributed.
A couple of new production companies that specialize in original broadband content include Big Fantastic (www. bigfantastic.com), and Electric Farm Entertainment (ef-ent.com), producers of the popular sci-fi web series Afterworld.
GAMES
Games – whether console, handheld, mobile or online – are another form of interactive storytelling. Although there have been games that have been made into movies, there are a lot of games that have the look and feel of a movie. More and more, computer-generated characters and sequences are being replaced by live-action sequences directed by feature and TV directors and shot by professional production crews. The new generation of games not only blur the line between what’s real and what isn’t, but game makers keep striving to create the most allencompassing, complete experience possible.
They call it immersive – creating an environment that envelops players, transporting all but their physical bodies to other worlds. There are games that utilize headsets (called neuro-headsets) that translate brainwave signals and analyze a player’s facial expressions that affect gameplay in real time. Along the same lines, Nintendo created a device called the Wii Vitality Sensor that clips onto players’ index fingers and reads their pulse into the game.
More than ever, you can choose which way you want the story to go. And there are games for every demographic – even preschoolers. Playing and learning at the same time, they can create and interact with their own cartoon characters.
SPECIAL VENUES
Further applications for new media can readily be found in amusement and theme park rides, IMAX film presentations, motion simulator experiences, interactive museum exhibits and planetarium shows – special venue products – themed entertainment that creates real-time audience interactivity while evoking a story.
People have been going to theatres and on amusement park rides for a very long time, but when was the last time your in-theatre experience or amusement park ride included seats that moved, sprayed water, buzzed or tickled your legs? And have you ever sat in a Full Dome theatre? Full Dome is an immersive dome-based video projection system that’s filled with interactive or prerendered computer animation, live capture images or composited environments. What began in planetariums has now expanded to other markets such as flight simulation and virtual reality environments.
Creating special venue entertainment involves the marriage of hardware and software, the encoding of media, onsite video and audio mixing and the merging of a special projection system with in-theatre special effects. It’s a fairly new medium that takes the collaboration and skills of many and is best served when supervised by a new media producer.
As technology evolves, so expands the experiences that can be produced for these special venues.
INTERACTIVE TV
The amount of interactivity between television and its audience continues to grow by colossal leaps and bounds, and viewers can continue to watch TV shows passively or choose to become active participants in the shows’ content. For a while now, convergence technology has made it possible to vote for your favorite performers by texting or calling from your cell phone; play along while watching Jeopardy and Wheel of Fortune and join in on Internet chats with other fans of your favorite shows. You can admire an outfit worn by a series regular one night and be able to order that outfit for yourself online the next morning. You can even order a pizza via your TiVo. This may all be routine to you, but it boggles my mind.
On some television shows in which the audience can vote on a winner or outcome, the voting is tallied after the completion of the show and announced on the following episode. The interactivity of other programs offers real-time consequences as viewers’ input becomes part of the show or shapes the outcome of the story. Whether the interactivity is done through the television, Internet, telephone or a mobile device – it’s another level of entertainment that creates a shared communal experience.
Newer levels of interactivity are now being offered by cable companies through set-top boxes that not only supply movies-on-demand, but also provide what’s being called Enhanced TV. This two-way network is the integration of web-enabled TV widgets (small, self-contained computer programs) into television programs, which translates a viewer’s actions and would typically be operated by using a remote control. Cablevision has created an interactive TV application using a virtual keypad, and Comcast is working with Panasonic to deliver interactive capabilities (without a set-top box) they call “Tru2way”. Programs have used a custom version of Skype to broadcast two-way video calls from viewers, and other new interactive elements are continually being introduced – creating endless possibilities for new forms of interactive programming.
To keep up on the latest on the world of interactive TV, check out the Interactive TV Alliance on the web at www.itvalliance.org.
MARKETING IN THE DIGITAL AGE
Just having a good idea, a product, a film, a web series to sell isn’t enough. It’s not like the compelling message Kevin Costner received in Field of Dreams that told him, “If you build it, they will come.” And you can no longer market a product solely by transmitting a common message, because our society is too fragmented, and people are all looking at different things – using a variety of venues for their news, gossip, information and entertainment. So the questions then become: How do you surround an idea or product? How do you ignite the fuse that starts a conversation? Exactly where are you going to find your target audience? How are you going to develop a relationship with fans? How are you going to invite fans to participate?
The journey begins with the merging of technology and advertising and the integration of brands and content, and where it leads is to a community of like-minded individuals who are going to become the loyal fan base/customers you need. Whatever niche your product or show falls into, there’s a good probability that the ideal audience is already out there. How do you find them? You do that by targeting social networking groups, initiating online dialogues on blogs and message boards, running teaser videos and creating links that will lead them to your website – and the sooner the better – even before a show has aired or a product has been launched. Involving an audience early on helps create a buzz and build momentum, it gets the idea/product/content out there and gives you feedback, so you can fine tune your concept. Posting a film trailer on YouTube is the perfect example. It’s a selling tool, it helps to identify your audience, and it’s like having your own personal focus group. It also affords you the opportunity to mold new content around the audience, giving them even more reason to stay involved and spread the word. It’s a valuable resource you can take to the bank.
I found a couple of good examples of specific venues that target very distinct audiences – one for men and the other for women. For men, there’s Heavy. com (www. heavy.com), one of the web’s leading entertainment brands for men and the Heavy Men’s Network, a distribution network reaching men worldwide through music, urban lifestyle, gaming and comedy. And then there’s iVillage, Inc. (www.ivillage.com), a subsidiary of NBC Universal, Inc., dedicated exclusively to connecting women at every stage of their lives. They offer a community infused with content from experts on health, parenting, pregnancy, beauty, style, fitness, relationships, food and entertainment. The site’s interactive features include thousands of message boards and a wide variety of social networking tools, allowing women around the world to connect, share ideas, and seek advice.
Whether it’s promoting a new show or film, a video game or web series or a product or brand – new digital avenues are revolutionizing the way advertisers utilize entertainment to reach and engage customers.
WHERE TO GO FOR MORE
The technology shaping all forms of new media is continually changing, so to stay on top of it, check out some of the websites listed below and keep an eye out for the many articles appearing in the trade papers. There are courses, conferences and seminars being offered throughout the United States, and colleges and universities are giving classes in producing videos for the Internet and mobile devices. The information is out there, and it’s abundant. A couple of books you might want to take a look at are: Digital Storytelling: A Creative Guide to Interactive Entertainment by Carolyn Miller and Managing Electronic Media: Making, Marketing and Moving Digital Content by Joan Van Tassel and Lisa Poe-Howfield (both by Focal Press).
A LITTLE TERMINOLOGY
Advergame A video game that in some way contains an advertisement for a product, service or company. Some advergames are created by a company for the purpose of promoting the company itself or one of its products, and the game may be distributed freely as a marketing tool. Other times, it can be a regular popular video game which may be sponsored by a company and include advertisements within the game.
Alternate reality game (ARG) An interactive narrative that uses the real world as a platform, often involving multiple media and game elements to tell a story that may be affected by a participant’s actions.
Avatar A computer user’s representation of him or herself or an alter ego. It could take the form of a three-dimensional model used in computer games or a two-dimensional icon used on Internet forums and other communities. It can also refer to the personality connected with the screen name of an Internet user.
Bandwidth A data transmission rate – the maximum amount of information (bits per second) that can be transmitted along a communications channel within a given amount of time.
DTV Direct to video
Immersive The 3D interactive computer-generated environment that surrounds video game players – an artificial world users becomes absorbed (immersed) in.
iTV Interactive TV
Real time The actual time at which an event or process occurs.
Smart Toy A toy that effectively has its own intelligence by virtue of its built-in electronics.
Video Blog An online diary or personal log of thoughts published on a web page. Entries can be recorded in one take or cut or cut into multiple parts – sometimes creating a series. They reveal an intimate look into a character’s life, whether that person is real or fictitious. (In June 2006, the interactive video diaries of a 16-year old girl named Bree started showing up on YouTube. Her user name was lonelygirl15, and her video blogs became massively popular – receiving hundreds of thousands of hits. It wasn’t until September 2006 that the show was revealed to be a hoax and Bree a fictitious character. The web series did continue, however, evolving into a multicharacter show featuring both video blogs and action sequences and a complex storyline. It ended on August 1, 2008.)
Viral video Programming that begins its life on the web and gains popularity through the process of Internet sharing.
Virtual world A computer-based simulated environment intended for its users to inhabit and interact via avatars. Some, but not all, virtual worlds allow for multiple users. The two I’ve recently discovered are Second Life and There (see website resources ahead for URLs).
VOD Video-on-demand
WEBSITE RESOURCES
As Seen on TV: www.seenon.com. Order products, clothing and accessories as seen on your favorite TV shows.
CBS.com Social Room: www.cbs.com/socialroom.An interactive site that allows groups of viewers to watch and interact collectively with streaming TV content, and even throwing animated objects such as tomatoes and kisses at the screen.
CNET: www.cnet. CBS’s interactive unit – a suite of lifestyle brands in key categories. Read the latest news and reviews, watch videos, listen to podcasts, download software, mobile applications and games, post opinions about technology and consumer electronics.
Crackle: crackle.com. Download movies, television shows and original series.
Dailymotion: www.dailymotion.com. Find or upload videos pertaining to your interests and hobbies, and get feedback on your own creative work.
Digital Entertainment Content Ecosystem: www.decellc. com. A consortium of the largest media and technology companies that has come up with a system that will allow video purchased at any outlet to be played on any device worldwide.
Disney Interactive Studios: http://disney.go.com/disneyinteractivestudios. For kids of all ages.
Entertainment Technology Center @ USC: www.etcenter. org. The ETC brings together senior executives from the entertainment, consumer electronics, technology, and services industries to discuss topics related to the creation, distribution, and consumption of entertainment content.
Gamasutra: www.gamasutra.com. The art and business of making games.
Hulu: www.hulu.com. Download episodes of TV shows, experimental projects (share your feedback while they’re still in development), trailers, games, etc.
IMERSA: www.iTunes.org. An international professional association advancing the art, science, profile, integrity and common interests of large-format digital immersive media and group interactive entertainment and cultural experiences including (but not limited to) immersive digital theaters and digital dome (FullDome) planetariums.
iTunes: www.iTunes.com. Play, buy and sync your music and movies with your iPod, iPhone and Apple TV.
Jaman: www.jaman.com. Watch movies – also rate and review movies, chat on forums, invite friends and share movie lists.
Joost: www.joost.com. Watch videos, TV, movies and more. You can search by title or category – or you can find suggestions from other people on Joost.
Metacafe:www.metacafe.com. An independent online video site, Metacafe makes it easy to find videos from your favorite content creators and help you discover new ones.
New Media Consortium: www.nmc.org. NMC is an international nonprofit consortium of learning-focused organizations dedicated to the exploration and use of new media and new technologies. For more than 15 years, the consortium and its members have dedicated themselves to exploring and developing potential applications of emerging technologies for learning, research, and creative inquiry.
Second Life: secondlife.com. An online 3D virtual world imagined and designed by you.
Sling Media: www.slingmedia.com. Sling Media, Inc. is a consumer electronics company that created the Emmy award-winning SlingboxTM, which turns any Internetconnected PC or laptop, Mac or smartphone into your home television, so you can watch TV virtually anywhere in the world.
Smart TV & Sound Magazine: www.smarttvandsound. com. This magazine’s aims are to educate people about technologies and products for the home entertainment network.
SyncTV: www.synctv.com. When you subscribe to a SyncTV channel, you’re free to access that channel from any device, anywhere, anytime. SyncTV works on TVs, and SyncTV Desktop is an app for Windows, Mac and Linux that lets you download your TV shows to your laptop and take them with you.
TED:www.ted.com. TED is a small nonprofit that started out as a conference bringing together people from the worlds of Technology, Entertainment and Design. Since then, its scope has become ever broader. Along with the annual TED Conference in Long Beach, California, and the TEDGlobal Conference in Oxford UK, TED includes the award-winning TEDTalks video site and several community programs worldwide.
Themed Entertainment Association: www.themeit.com. TEA is a nonprofit organization dedicated to connecting organizations that are seeking to engage and educate their guests and visitors with themed entertainment. Members have produced highly successful experiencebased museum exhibits, science center interactives, corporate visitor centers, live events and live performance venues, themed entertainment and retail centers, casinos and resorts, themed restaurants, aquariums, zoos, heritage centers, theme parks and more.
There: www.There.com. A virtual world where you can use voice and talk like you really talk — whisper, chuckle, sneeze or laugh. There’s Voice lets you say what you really want to say.
Veoh:www.veoh.com. A popular video portal where you can access tens of millions of videos from major content publishers, other video sites like YouTube and Hulu, as well as thousands of independent filmmakers and content producers. The Veoh Video Compass? is their browser add-on that instantly generates relevant online video recommendations as you visit some of the most popular sites on the web. Veoh is available on the iPhone and the iPod Touch, and the Veoh Web Player is a downloadable application that allows you to watch full-length videos directly in your browser.
Vudu: www.vudu.com. A HD on-demand movie service
Vuguru:www.vuguru.com. A new media studio that produces and distributes story-driven content for current and emerging new media platforms.
Wired magazine and Wired.com: www.wired.com. Wired and Wired.com are dedicated to reporting on the technology that’s changing the world.
YouTube: www.youtube.com. Watch videos, webisodes and TV shows from the YouTube website, your phone, your website or social network page or your TV.
CONFERENCES
Here are just a few:
• Game Developers Conference: www.gdcconf.com. This is the world’s largest professionals-only game industry event. Presented every spring in San Francisco, it’s a forum for learning, inspiration, and networking for the creators of computer, console, handheld, mobile and online games.
• SIGGRAPH: www.siggraph.org. The SIGGRAPH conference focuses on: research, science, art, animation, gaming, interactivity, education and the web from around the globe. This conference and exhibition is a five-day, fluid, interdisciplinary educational experience including a three-day exhibition that attracts hundreds of exhibitors from around the world. SIGGRAPH is widely recognized as the most prestigious forum for the publication of computer graphics research. In addition to SIGGRAPH’s leading-edge technical program, the conference’s installations provide close-up views of the latest in digital art, emerging technologies and hands-on opportunities for creative collaboration. Additionally, the conference is home to the international SIGGRAPH Computer Animation Festival, showcasing works from the world’s most innovative and accomplished digital film and video creators.
• 3D Entertainment Summit:www.3d-summit.com. This two-day conference enables attendees to engage, debate and define the latest developments in the 3D marketplace.
FINAL THOUGHTS
I’d like to end this chapter with some thoughts from my friend, Tim Tennant, a new media pioneer, who has this to say on the topic: “Today is different than yesterday, and will continue to be so. Flexibility and Cheaper are the new mantras. Good and Great will always win over technology delivery. The key insight is that when consumers use computers, cell phones, PDAs, etc., they’re consuming media in short bites that they choose. Knowing this allows new media content to be designed in exciting new ways that enable the consumer to take a journey with the creative content creator. Smart creatives will learn to use the medium to telegraph and punctuate storytelling in ways that allow deeper engagement with stories.”
For their help with this chapter, I’d like to acknowledge Tim Tennant, Eric Mofford and Carolyn Miller.