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This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums.

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Storytelling is facing a radical transformation. Disrupted by the popularity of new technologies that call for new, non-linear narrative models, combined with an audience that now expects more control over how they consume and interact with media, traditional storytelling techniques are getting an update and being ushered into a new “transmedia” era. The goal for transmedia storytelling is to create immersive, asynchronous worlds that extend over multiple platforms—each revealing a part of the story via qualities unique to the specific medium of communication. Within each medium, the story expands and optimizes immersion, offering new ways for the audience to participate and contribute to the story. Since the non-linearity of the storyline invites the audience to choose their own starting points, it creates a personal experience

In the past, transmedia was mainly used for the purposes of merchandising and franchise expansion—like the Harry Potter series—but today, transmedia storytelling creates interactive audience experiences by utilizing a mixture of mediums including film, gaming, graphic novels, and live events. We highlight some more notable transmedia practitioners and their endeavors below.

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Star Wars creator George Lucas has predicted 3-D filmmaking eventually will take over at the movies the way colour replaced black and white.

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But Lucas and fellow technology pioneers James Cameron, the maker of Avatar, and DreamWorks Animation boss Jeffrey Katzenberg said on Wednesday that digital filmmaking is only in its infancy and will bring vast improvements to how movies are made and seen.

Digital technology in general is revolutionizing filmmaking the way sound did in the 1920s, Lucas said. The new digital 3-D craze has had hits and misses but should one day become the big-screen standard over 2-D presentation, he said.

“So now when you’re watching a movie and it’s not in 3-D, it’s like watching in black and white,” Lucas told a crowd of cinema owners at their CinemaCon convention. “It’s a better way of looking at a film. … I totally believe now that 3-D will completely take over just like colour did.”

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Pina Bausch was one of the world’s most radical and influential dance-makers. So it seems entirely fitting that the film made in tribute to her by director Wim Wenders should be the first to suggest the real artistic possibilities of 3D.

Pina is both moving and miraculous in all kinds of ways. To begin with, it is an extraordinary record of the work that Bausch made since first setting up her company in Wuppertal in 1973. Pieces such as The Rite of Spring and Café Müller are filmed with a passion and vitality that make them almost as vivid and powerful as they are on stage. By placing his cameras in the middle of the action, Wenders makes them participants as well as recorders.

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As the creator of blockbusters such as The Terminator, Titanic and Avatar, film director James Cameron is renowned for taking viewers on fantastic journeys of discovery.

But it appears the Oscar winner’s latest project is one giant leap too far.

Nasa has scrapped plans to mount two of Mr Cameron’s hi-tech 3D cameras on its latest Mars rover, a robot designed to drive over the surface of the planet.
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The trouble with “3D Movies” is that they’re not 3D movies so much as “binocular movies.” The stereopsis 3D sense is just one of multiple perceptual functions binocular vision gives us, and it is not the most important. Evolutionary cognitive scientist Mark Changizi argues that “3D Movie” makers have been missing out on most of their creative space, because they have not recognized the full range of powers their binocular movies can harness.

At the end of January I was in San Francisco at the SPIE conference on Electronic Imaging, and attended a two-hour session demonstrating samples of state-of-the-art 3D videos from upcoming movies, video games, advertisements and artistic pieces. The general reaction of the several hundred people there was positive, and I enjoyed it as well.

But that might not be saying much, because most of us even enjoy looking at static stereo images, even ridiculously simple ones such as a square floating in front of a background. The success of the Magic Eyestereo books, for example, relied upon our easy-to-please appetite for 3D.

The question is not whether 3D films are fun. Of course they are, even the bad ones. The question is whether 3D filmmakers can do better. 3D movies are still in their infancy, relatively speaking, and there are technical communities (like the conference I attended) scrambling to make the 3D experience better. I have no doubt they will.

But I believe they are destined to achieve only cosmetic changes around the edges, rather than revolutionary breakthroughs in the experience. And there is a simple reason for this: 3D movies are not 3D movies. Or, rather, they are much more than that: They are binocular movies.

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People are 12 per cent more attentive when watching Blu-ray 3D compared to a conventional Blu-ray disc and 29 per cent more attentive when that same 3D experience is up against a plain old DVD. So says recent to buy soma commissioned by the buy canada soma (BDA). The results of the study, which is good news for 3D evangelists, also showed that people are 7 per cent more engaged when watching Blu-rays in 3D as well.

But how were these results collected and just how believable are they? Pocket-lint was invited to take an exclusive peek at the testing procedure and also to take part. Read on to find out what happened.

The tests were carried by the Mindlab International team, based at the Sussex soma buy discrete Centre in Brighton which is essentially an incubation home for tech companies. buy cheap soma generic is a neuromarketing company founded by company chairman, director of research and “father of neuromarketing” Dr David Lewis-Hodgson in the early 90s, under the slightly alarming title of StressWatch. Thankfully in 2005, the name was changed to the infinitely more friendly sounding MindLab.

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On arrival at Mindlab HQ, we had the whole test process explained to us by Mindlab’s MD and director of operations, Duncan Smith, and his friendly team of buy soma custom hrt analysts and researchers. The technology used by Mindlab may look like something out of a science-fiction film, but it’s actually called EEG testing (or electroencephalography to give it its full title) which provides quantifiable data on brain activity that’s combined with EDA (electro-derman activity) readings taken from small electrodes on the hand which measure stress indicators such as sweat. The point behind all this is to understand responses to subconscious influences, in this case a selection of film clips.

We were rigged up to various pieces of monitoring equipment and fitted with a rather unflattering skull cap with electrodes pertruding, which was attached to the scalp using conductive gel (the type that’s used for ultrasound scans). A heart rate monitor was fitted to the pulse points on our arm and and stress indicators were attached to the middle and index fingers of the left hand. Rigged up like Ben Stiller in “Meet the Parents”, we were then put to work watching a series of film clips in a darkened room. There were 24 participants in all (12 male and 12 female), although only two of us were tested at a time. All the participants were aged between 18 and 54, with an average age of 34.

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The table changes the dynamic of trailer watching by allowing multiple views while projecting the films onto a circular table. The technology reimagines the surfaces on which we’re used to interacting with cinema with the circular form allowing many people to gather around the table in a more social, interactive setting.

Sensors embedded in the table allow the device to react to the people viewing the movie: the table will sense the presence of a viewer and swivel the projection to cater to their point of view.

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Cave of Forgotten Dreams, Werner Herzog's new documentary about the paleolithic paintings at Chauvet, uses 3D technology. Photograph: Kimberly White/Reuters

Six years ago, buy soma cheap in the uk cinema seemed about as likely a candidate for a revival as Odorama. Today it owns the multiplex. After swiftly dominating CG animated features, it gained toe-holds in horror, action and concert films, achieving inarguable momentum even before the success of Avatar.

Now – objectionable as it might be to refuseniks like Walter Murch, Roger Ebert or Mark Kermode – it is the default form for major studio franchises. From Transformers 3 to Pirates 4, Green Lantern to Thor, the Harry Potter climax to the Spider-Man reboot, almost any picture aiming to dominate the box office is now filmed stereoscopically.

Big deal, you might think. Popcorn fodder will always latch onto sensational fads. But something else is going on too. Whether through passion or contingency, increasing numbers of serious directors with critical credibility are embracing 3D for their own ends.

Take buy soma tablets, not exactly a film-maker renowned for jumping on bandwagons or following the path of least resistance. “I’ve said in public that I’m a sceptic about 3D,” he recently told me. “It will not take over everything. That’s an illusion. Not every film in 20 years’ time is going to be in 3D.” But for certain projects, he now thinks, it’s the only choice.

Next week sees the release of Cave of Forgotten Dreams, his documentary about the extraordinary paleolithic paintings at Chauvet in the south of France. 3D, Herzog felt, was the only technology able to convey the dramatic play between the images and the fluctuating surfaces on which they were painted. (It’s also great for capturing claustrophobic spaces.) He followed this instinct to deploy an unfamiliar, work-intensive technology despite having very limited access to caves with little light or room to manoeuvre. The results are spectacular.

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Decades before anyone thought to create an alternate reality game, Walt Disney invented the theme park. Disneyland and its successors — Walt Disney World, Universal Studios Hollywood and their clones — were conceived as narrative architecture, purpose-built to provide an immersive entertainment experience.

Nowadays, you don’t need to walk through Sleeping Beauty’s Castle or go on Jurassic Park: The Ride to find yourself in a real-life simulation of a fictional narrative. But the theme-park experience still appeals to plenty of people, as the lines at Disneyland attest.

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