This week we further formalised our plans by putting together some guidelines for contacting guests: – Free Public Lecture on ‘Working in a Global Media Industry’ at RMIT University targeted at new media grads. – Date/Time: Friday 26th September, 11.30-1pm – Q&A Panel Discussion / no need to prepare – Morning tea / snacks provided
This week we defined some of our roles and began to brainstorm the types of guests we wanted. I was given the responsibility of coordinating guests and contacting them along with a couple of others, as it was proving a bit messy when everyone attempted to contact someone – the fear was we might have
After choosing seminar groups, roles were still fairly undefined, but as a group we had started brainstorming what we wanted to actually get out of an international seminar. All of us were interested in working internationally, or at least exploring the idea, and many of us had international backgrounds. We also had diverse interests in
Presentation: http://prezi.com/pnsm2aedhrzq/sherlock-and-transmedia/ Insights Effective transmedia has to be justified by the story Transmedia writers must be part of the project early on, even if the anchor text is the only text set to be consumed by most of the audience Characters have to remain consistent across media The question of co-construction and how much,
While it’s hard to disagree with anything Kevin Spacey says in any situation, I have to say, he’s just right. Makes me think differently about the death of content being tied to or defined by a delivery medium – The technical differences and contexts are being ignored by most audiences, happy to watch a show or movie on their laptop or tablet instead of the cinema or their television. Specialist delivery mediums such as theatres might dwindle, but the moving image is more alive than ever, in an age where content isn’t defined by the size or location of the screen, and that makes me feel a whole lot better about it.
Seeing Upstream Color, written and directed by and co-starring Shane Carruth, at the Melbourne International Film Festival was a welcomingly refreshing experience. It’s a fantastic follow-up to Carruth’s Primer, which I consider more incomprehensible than Upstream Color, despite the realistic approach. As is the case with Primer, Upstream Color is quite challenging, and the abstract connections in the film make it even more so. Amy Seimetz and Shane Carruth pull of great performances as the lost and confused Kris and Jeff, and Carruth’s score is immersive and hypnotic – in fact the whole film has that magnetic quality to it.
Of course, as with Primer, multiple watchings and turning your brain cells to overdrive are probably necessary to fully understand the dream-like strangeness of it all – but then, that’s sort of the point. And if you need answers now, they are already waiting:
Not what one would normally expect from Stiller, but I’m already looking forward to it.
This is the anti-ad I produced with Simon Toppin for Adblock’s anti-advertisememt competition. Irony aside, it was a lot of fun to put together even if we only had a few hours to shoot it. There are only a few hours left to vote, which you can do here.
You can view all the entries on the voting page (at least for the moment).
Starring Jeremy Kewley and James Farrier
Also featuring Anthony Lavars
Written and Produced by Alexandra Roach
Directed by Amy Bryans
Cinematography by Simon Gilberg
Sound by Ronja Moss
Our Film-TV 1 film is finally complete (some extra cutting would be great but with what appears to be a corrupted sequence in final cut, I’m in no rush to get in and attempt to salvage and rebuild the film just yet). Seeing it on the big screen along with the other films was great, offering the opportunity to gauge the audience’s response.
It was interesting project to work on, being so seemingly simple, but of course, there was certainly a lot of streamlining and careful planning involved in shooting something in one day. Having one location we could control made the shoot much easier.