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	<title>Filmmaker Magazine &#187; Transmedia</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Crowdfunding a Transmedia Phenomenon: Director Nicolás Alcalá on The Cosmonaut</title>
		<link>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/</link>
		<comments>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/#comments</comments>
		<pubDate>Thu, 16 May 2013 18:46:12 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[crowdfunding]]></category>
		<category><![CDATA[Nicolas Alcala]]></category>
		<category><![CDATA[The Cosmonaut]]></category>
		<category><![CDATA[transmedia]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70585</guid>
		<description><![CDATA[With all the discussion about the future of Kickstarter in recent weeks, it may be appropriate that a film that began its campaign at the beginning of the crowdfunding movement is finally coming out this Saturday. The Cosmonaut &#8212; a Spanish-made English-language film directed by Nicolás Alcalá and produced by Carola Rodriguez and Bruno Teixidor &#8212; raised over €300,000 from 5,000 contributors. It was the first crowdfunded film in Spain and helped pave the way for the foundation of Lánzanos, Spain&#8217;s Kickstarter equivalent. The Cosmonaut will be available to watch for free on Saturday on the film&#8217;s website; the DVD, theatrical &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/feed/</wfw:commentRss>
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		<item>
		<title>The New Digital Storytelling Series: D. Fox Harrell</title>
		<link>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/</link>
		<comments>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/#comments</comments>
		<pubDate>Thu, 16 May 2013 15:21:01 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Fox Harrell]]></category>
		<category><![CDATA[GRIOT]]></category>
		<category><![CDATA[Mimesis]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70611</guid>
		<description><![CDATA[In the penultimate part of Filmmaker and the MIT Open Documentary Lab&#8217;s interview project with prominent transmedia figures, D. Fox Harrell, Ph.D., Associate Professor of Digital Media in the Comparative Media Studies Program and the Computer Science and Artificial Intelligence Laboratory at MIT, answers our questions. Harrell&#8217;s research explores the relationship between imaginative cognition and computation. He develops new forms of social media, gaming, computational narrative, and related computational media systems based in computer science, cognitive science, and digital media arts. The National Science Foundation has recognized Harrell with an NSF CAREER Award for his project &#8220;Computing for Advanced Identity Representation.&#8221; He has worked &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>The New Digital Storytelling Series: Katerina Cizek</title>
		<link>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/</link>
		<comments>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/#comments</comments>
		<pubDate>Thu, 09 May 2013 14:47:56 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Filmmaker-in-Residence]]></category>
		<category><![CDATA[HIGHRISE]]></category>
		<category><![CDATA[Katerina Cizek]]></category>
		<category><![CDATA[NFB]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70273</guid>
		<description><![CDATA[In the tenth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab, Katerina Cizek gives her take on the way digital technology is shaping contemporary storytelling. Cizek is currently the director of the NFB&#8217;s HIGHRISE project, exploring new forms and new approaches to content. HIGHRISE is a multi-year, many media series of projects. You can see it at highrise.nfb.ca and her previous project Filmmaker-in-Residence at filmmaker.nfb.ca. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/feed/</wfw:commentRss>
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		<item>
		<title>Solving Storytelling Problems at Tribeca Hacks</title>
		<link>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/</link>
		<comments>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/#comments</comments>
		<pubDate>Tue, 07 May 2013 17:21:15 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Bassam Tariq]]></category>
		<category><![CDATA[hackathon]]></category>
		<category><![CDATA[Julia Pott]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>
		<category><![CDATA[Tribeca Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70149</guid>
		<description><![CDATA[Technology-centered hackathons identify real-world problems and then attempt to solve them through rapid prototyping. Artistic hackathons — 48-Hour Playwriting contests and the like — use compressed time periods to stave off creators’ perennial demons (procrastination, usually manifested by a compulsive desire to clean one’s apartment). But hackathons that merge the creative with the artistic pose unique challenges. There’s the artistic element, the technology element and then also the fusion of the two, which is actually a third thing entirely. Storytelling craft, choice of content but also appropriateness and originality of UI and methods of engagement all become the criteria by &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Big Data and the 25 Best Film Schools</title>
		<link>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/</link>
		<comments>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/#comments</comments>
		<pubDate>Mon, 06 May 2013 13:00:26 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[film school]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70100</guid>
		<description><![CDATA[Big Data — the term is everywhere right now. Sometimes used as a shorthand for the companies that are in the business of collecting, aggregating and sifting through large data sets (often comprised of personal info), it more properly refers to the data sets themselves — collections of information so gigantic they require advanced technologies to interpret. There&#8217;s much creepy potential in Big Data, but it is here to stay. The question, then, is whether the technologies of Big Data can be marshaled for progressive and creative goals. At Arts Fwd, Erinn Roos-Brown argues that arts organizations can learn from &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Beyond: Two Souls at the Tribeca Film Festival</title>
		<link>http://filmmakermagazine.com/69613-beyond-two-souls-at-the-tribeca-film-festival/</link>
		<comments>http://filmmakermagazine.com/69613-beyond-two-souls-at-the-tribeca-film-festival/#comments</comments>
		<pubDate>Thu, 02 May 2013 16:19:48 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Beyond: Two Souls]]></category>
		<category><![CDATA[David Cage]]></category>
		<category><![CDATA[interactive]]></category>
		<category><![CDATA[motion capture]]></category>
		<category><![CDATA[Tribeca Film Festival 2013]]></category>
		<category><![CDATA[video games]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69613</guid>
		<description><![CDATA[The distance between video games and cinema has been shrinking for years. Nowhere was this more obvious than in the presentation of Beyond: Two Souls last Saturday during the Tribeca Film Festival&#8217;s closing weekend, an event billed as the first time a video game has ever been shown in a film festival. Certainly in the packed SVA theater, past the red carpet for actors like Ellen Page and after the enthusiastic introduction by Tribeca&#8217;s Chief Creative Officer Geoffrey Gilmore, it felt like a convergence of the two media that we haven&#8217;t seen before. This isn&#8217;t a game based on a movie &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69613-beyond-two-souls-at-the-tribeca-film-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The New Digital Storytelling Series: Lance Weiler</title>
		<link>http://filmmakermagazine.com/69982-the-new-digital-storytelling-series-lance-weiler/</link>
		<comments>http://filmmakermagazine.com/69982-the-new-digital-storytelling-series-lance-weiler/#comments</comments>
		<pubDate>Thu, 02 May 2013 16:02:50 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[DIY Days]]></category>
		<category><![CDATA[Lance Weiler]]></category>
		<category><![CDATA[MIT OpenDocLab]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69982</guid>
		<description><![CDATA[In the ninth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab, Lance Weiler answers our questions. Weiler is a boundary-pushing transmedia storyteller who has, among many notable achievements, directed and self-distributed innovative movies (The Last Broadcast, Head Trauma), created an ARG for Head Trauma, made the immersive storytelling short Pandemic, and founded the regular creative conference diy days and the transmedia company Reboot Stories. He also writes the Culture Hacker column for Filmmaker magazine, and is on the board of the IFP, the publisher of Filmmaker. For an introduction &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69982-the-new-digital-storytelling-series-lance-weiler/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Enter Vine: Crafting the 6-Second Film</title>
		<link>http://filmmakermagazine.com/69587-enter-vine-crafting-the-6-second-film/</link>
		<comments>http://filmmakermagazine.com/69587-enter-vine-crafting-the-6-second-film/#comments</comments>
		<pubDate>Sat, 27 Apr 2013 18:24:36 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[contest]]></category>
		<category><![CDATA[distribution]]></category>
		<category><![CDATA[iOS]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>
		<category><![CDATA[Vine]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69587</guid>
		<description><![CDATA[Since Vine was launched a little less than a year ago it&#8217;s gotten a fair amount of attention from the technology press but not as much, it seems, from filmmakers. The premise, that all films must be limited to six seconds, doesn&#8217;t lend itself to narrative films; it has, rather, been a gathering place for stop-motion animators, encouraged by its use of iOS device screens as the camera shutter, and, more famously, porn. But the app has proven nearly as popular as Twitter, which bought it last October, and just this month it became the most-downloaded free app in the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69587-enter-vine-crafting-the-6-second-film/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The New Digital Storytelling Series: Vivek Bald</title>
		<link>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/</link>
		<comments>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 16:10:10 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Bengali Harlem]]></category>
		<category><![CDATA[MIT OpenDocLab]]></category>
		<category><![CDATA[Vivek Bald]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69430</guid>
		<description><![CDATA[In the eighth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab,  Vivek Bald, filmmaker, Associate Professor of Writing and Digital Media at MIT and a member of the MIT Open Documentary Lab, answers our questions. Bald&#8217;s ongoing project, Bengali Harlem, documents the history of two little-known groups of South Asian immigrants. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin. MIT Open Documentary Lab: How did you become a digital storyteller? Were there &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Tribeca Film Institute&#8217;s Interactive Conference</title>
		<link>http://filmmakermagazine.com/69274-tribeca-film-festival-interactive-day/</link>
		<comments>http://filmmakermagazine.com/69274-tribeca-film-festival-interactive-day/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 14:51:43 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Caspar Sonnen]]></category>
		<category><![CDATA[crowdsourcing]]></category>
		<category><![CDATA[IDFA DocLab]]></category>
		<category><![CDATA[Ingrid Kopp]]></category>
		<category><![CDATA[interactive]]></category>
		<category><![CDATA[Lance Weiler]]></category>
		<category><![CDATA[Localore]]></category>
		<category><![CDATA[NFB Interactive]]></category>
		<category><![CDATA[Tiffany Shlain]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>
		<category><![CDATA[video games]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69274</guid>
		<description><![CDATA[There&#8217;s no good way to summarize the plethora of information presented last Saturday at TFI Interactive, a full-day conference held, for the second time, during the Tribeca Film Festival. Organized by the omnipresent Ingrid Kopp (who was recently interviewed by the MIT Open Documentary Lab), the day took place at the IAC Building in lower Manhattan, not far from most of the festival&#8217;s screenings and the Storyscapes interactive exhibits that Kopp also curated. Over 20 presentations covered dozens of individual projects, discussed entities like Kickstarter, the NFB, and IDFA DocLabs, and included panel discussions on creating adventure video games (think The &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69274-tribeca-film-festival-interactive-day/feed/</wfw:commentRss>
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		<title>Storyscapes: Tribeca Goes Interactive</title>
		<link>http://filmmakermagazine.com/68946-storyscapes-tribeca-goes-interactive/</link>
		<comments>http://filmmakermagazine.com/68946-storyscapes-tribeca-goes-interactive/#comments</comments>
		<pubDate>Tue, 23 Apr 2013 15:35:30 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[A Journal of Insomnia]]></category>
		<category><![CDATA[crowdsourcing]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[Ingrid Kopp]]></category>
		<category><![CDATA[Robots in Residence]]></category>
		<category><![CDATA[Sandy Storyline]]></category>
		<category><![CDATA[Star Wars Uncut]]></category>
		<category><![CDATA[Storyscapes]]></category>
		<category><![CDATA[This Exquisite Forest]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68946</guid>
		<description><![CDATA[This image is from Empire Uncut, part of the Star Wars Uncut project and one of the five projects at the Tribeca Film Festival&#8217;s first juried exhibit of interactive video projects, which ran this week at the Bombay Sapphire House of Imagination on Varick Street. TFI has been supporting digital, transmedia, and multimedia projects for years through programs like its New Media Fund and hackathons, and now TFI&#8217;s Director of Digital Initiatives Ingrid Kopp (who was recently interviewed by Filmmaker) has found a way to bring some projects into a physical space to coincide with the film festival in lower &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68946-storyscapes-tribeca-goes-interactive/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<item>
		<title>The New Digital Storytelling Series: Ingrid Kopp</title>
		<link>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/</link>
		<comments>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/#comments</comments>
		<pubDate>Thu, 18 Apr 2013 15:16:26 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Crossover Labs]]></category>
		<category><![CDATA[Ingrid Kopp]]></category>
		<category><![CDATA[New Frontier Story Lab]]></category>
		<category><![CDATA[NFB Interactive]]></category>
		<category><![CDATA[Power to the Pixel]]></category>
		<category><![CDATA[Producers Institute for New Media Technologies]]></category>
		<category><![CDATA[TFI New Media Fund]]></category>
		<category><![CDATA[Tribeca Film Institute]]></category>
		<category><![CDATA[Tribeca Hacks]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68817</guid>
		<description><![CDATA[In the seventh part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab,  Ingrid Kopp, Director of Digital Initiatives at Tribeca Film Institute,  answers our questions. Kopp oversees the TFI New Media Fund, runs Tribeca Hacks and produces TFI Interactive during the Tribeca Film Festival. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin. MIT Open Documentary Lab: How do you see people making the transition to digital interactive storytelling? Kopp: I think people have &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>POV&#8217;s Third Nonfiction Transmedia Hackathon</title>
		<link>http://filmmakermagazine.com/68668-povs-third-nonfiction-transmedia-hackathon/</link>
		<comments>http://filmmakermagazine.com/68668-povs-third-nonfiction-transmedia-hackathon/#comments</comments>
		<pubDate>Wed, 17 Apr 2013 13:00:16 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[hackathon]]></category>
		<category><![CDATA[interactive]]></category>
		<category><![CDATA[POV]]></category>
		<category><![CDATA[Social Issue documentary]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68668</guid>
		<description><![CDATA[The most encouraging aspect of POV&#8217;s third hackathon, which wrapped with a public presentation Sunday night, was the social commitment of the five projects. When they hit close to home, events like Monday&#8217;s bombing in Boston can make you step back and reevaluate your work, its purpose and meaning. So it was gratifying, a day earlier, to see how committed the hackathon teams were to remedying some kind of societal problem, including some situated half a world away. Over two days the participants worked together to use new technologies to make real strides against issues like homelessness, war, and the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68668-povs-third-nonfiction-transmedia-hackathon/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>The New Digital Storytelling Series: Brett Gaylor</title>
		<link>http://filmmakermagazine.com/68491-the-new-digital-storytelling-series-brett-gaylor/</link>
		<comments>http://filmmakermagazine.com/68491-the-new-digital-storytelling-series-brett-gaylor/#comments</comments>
		<pubDate>Thu, 11 Apr 2013 16:32:45 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Brett Gaylor]]></category>
		<category><![CDATA[EyeSteelFilm]]></category>
		<category><![CDATA[Hoemless Nation]]></category>
		<category><![CDATA[Mozilla]]></category>
		<category><![CDATA[Open Source Cinema]]></category>
		<category><![CDATA[Popcorn.js]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68491</guid>
		<description><![CDATA[In the sixth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab,  Brett Gaylor, Senior Director of Mozilla&#8217;s Webmaker initiative (including Mozilla PopcornMaker and Popcorn.js)  answers our questions. Gaylor has previously been a member of the EyeSteelFilm documentary production company, the founder of Open Source Cinema and the web producer of Homeless Nation. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin. MIT Open Documentary Lab: How did you become a digital &#8230;]]></description>
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		<title>The New Digital Storytelling Series: Mark Harris</title>
		<link>http://filmmakermagazine.com/68018-the-new-digital-storytelling-series-mark-harris/</link>
		<comments>http://filmmakermagazine.com/68018-the-new-digital-storytelling-series-mark-harris/#comments</comments>
		<pubDate>Thu, 04 Apr 2013 13:15:01 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Mark Harris]]></category>
		<category><![CDATA[Murmur]]></category>
		<category><![CDATA[Storycode]]></category>
		<category><![CDATA[The Lost Children]]></category>
		<category><![CDATA[theater]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68018</guid>
		<description><![CDATA[Mark Harris is a filmmaker and software architect. Mark writes software for gameplay, storytelling, and transmedia. Mark was a mentor at the first StoryCode StoryHack, and creative technologist on Lance Weiler’s Pandemic 1.0. Mark is also an alumnus of the IFP Narrative Lab. Mark’s transmedia project, The Lost Children, had its New York City premiere in Jan 2013 at Film Society of Lincoln Center, with a feature film and live immersive experience. In the Fall of 2012, Mark wrote his first immersive play for Epic Theater Ensemble, and in Spring 2013, Mark joins the hybrid studio/technology company Murmur. MIT Open Documentary Lab: How did you &#8230;]]></description>
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		<title>Audio Watermarks for the Second Screen</title>
		<link>http://filmmakermagazine.com/67610-audio-watermarks-for-the-second-screen/</link>
		<comments>http://filmmakermagazine.com/67610-audio-watermarks-for-the-second-screen/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 13:00:59 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[apps]]></category>
		<category><![CDATA[Intrasonics]]></category>
		<category><![CDATA[second screen]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67610</guid>
		<description><![CDATA[Buzz about the second screen is becoming increasingly ubiquitous, as this recent (and, for me, incredibly thought-provoking) Filmmaker article by Scott Macaulay shows. Coordinating content on two devices to play (in any sense of that word) simultaneously, which some have called &#8220;orchestrated media,&#8221; is one of the next big things, and it’s causing content creators to search for new ways to make their dual-screen programs stand out. First, as that article points out, it requires new mental paradigms for filmmakers/digital storytellers as they plan and execute their work. But second, and just as important, it requires the technological means to &#8230;]]></description>
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		<title>The Emmys Create New Interactive Media Awards</title>
		<link>http://filmmakermagazine.com/67579-the-emmys-create-new-interactive-media-awards/</link>
		<comments>http://filmmakermagazine.com/67579-the-emmys-create-new-interactive-media-awards/#comments</comments>
		<pubDate>Fri, 29 Mar 2013 13:00:13 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Academy of Television Arts & Sciences]]></category>
		<category><![CDATA[awards]]></category>
		<category><![CDATA[Emmys]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67579</guid>
		<description><![CDATA[One sign of transmedia&#8217;s inevitable movement to the center of mainstream media&#8211;not just technophile or indie fare&#8211;is its representation in the major awards. And while a film released on iTunes still may not be Oscar-eligible, digital media awards have been progressing far beyond the Webbys for years, with more popping up all the time. The Emmys are particularly interesting, though, because in a way they represent the heart of what mainstream television audiences are watching and praising. It&#8217;s notable, then, that the International Digital Emmy Awards will reach their eighth year at MIPTV in Cannes with the ceremony on April &#8230;]]></description>
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		<title>The New Digital Storytelling Series: Kamal Sinclair</title>
		<link>http://filmmakermagazine.com/67637-the-new-digital-storytelling-series-kamal-sinclair-2/</link>
		<comments>http://filmmakermagazine.com/67637-the-new-digital-storytelling-series-kamal-sinclair-2/#comments</comments>
		<pubDate>Thu, 28 Mar 2013 15:52:57 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Kamal Sinclair]]></category>
		<category><![CDATA[Sundance New Frontier]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67637</guid>
		<description><![CDATA[The Senior Manager at the Sundance Institute&#8217;s New Frontier Story Lab, Kamal Sinclair came to interactive via an unlikely, but, in many ways, appropriate route. While many in the interactive and new media fields hail from technology and filmmaking, Sinclair began her career in a medium where she received direct feedback from audience members every night &#8212; the theater. A trained dancer, choreographer and actress, Sinclair joined the Off-Broadway production STOMP at only 18, spending the next six years on their stages. In the below interview, Sinclair describes how she went from nightly performing to Sundance, a journey that also &#8230;]]></description>
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		<title>Jason Brush and Michel Reilhac Discuss the Second Screen and New Interactive Cinema at SXSW</title>
		<link>http://filmmakermagazine.com/67393-jason-brush-and-michel-reilhac-discuss-the-second-screen-and-new-interactive-cinema-at-sxsw/</link>
		<comments>http://filmmakermagazine.com/67393-jason-brush-and-michel-reilhac-discuss-the-second-screen-and-new-interactive-cinema-at-sxsw/#comments</comments>
		<pubDate>Wed, 27 Mar 2013 15:00:30 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Jason Brush]]></category>
		<category><![CDATA[Michel Reilhac]]></category>
		<category><![CDATA[second screen]]></category>
		<category><![CDATA[SXSW]]></category>
		<category><![CDATA[SXSW 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67393</guid>
		<description><![CDATA[Two of the events I was most looking forward to seeing this year at SXSW Interactive were Jason Brush&#8217;s talk, Filmmaking as User Experience and Michel Reilhac&#8217;s &#8220;Meet the Insiders&#8221; panel, &#8220;Storytelling + Interactive.&#8221; Brush teaches at UCLA&#8217;s Department of Film, Television and Visual Media and is Executive Vice President of Creative &#038; UX at POSSIBLE. Reilhac, who I have written about before at Filmmaker, is an independent transmedia director, story writer and consultant, and one of the most passionate and eloquent voices for new forms of interactive storytelling. Unfortunately, as is often the case at SXSW, once I put &#8230;]]></description>
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		<title>Trailer Watch: A Journal of Insomnia</title>
		<link>http://filmmakermagazine.com/67529-trailer-watch-a-journal-of-insomnia/</link>
		<comments>http://filmmakermagazine.com/67529-trailer-watch-a-journal-of-insomnia/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 16:29:23 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67529</guid>
		<description><![CDATA[One of the Storyscapes projects I&#8217;m looking forward to at this year&#8217;s Tribeca Film Festival is A Journal of Insomnia, an &#8220;interactive fresco&#8221; combining confessions from insomniacs the world over and gathered since 2012. The &#8220;unique nocturnal premiere&#8221; happens April 18. From the press release: The original idea for the project comes from Hugues Sweeney, Executive Producer of NFB French Program’s Digital Studio in Montreal. Hugues explains that, “This is not a traditional Web documentary. It is a genuine attempt to push the boundaries of the genre by merging art and design with technology and social media, to create a &#8230;]]></description>
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