Transmedia

Well, you'll need game designers, artists, programmers, marketing people - pretty much like a film cast/crew. You can either hire a game studio (pretty much the same as hiring a film cast/crew), or pitch it to game studios (pretty much like pitching it to studios/prodcos). You catching my theme? :) Producing a game is virtually the same as producing a film/TV show.

Sound! A small team would typically involve a single guy taking care of voice-overs, sound design, music and implementation, while a larger team would have a composer taking care of generative music and a sound designer for the other audio-related tasks. Large studios have several resources each with different roles: audio director, voice-over director, several sound designers, a composer (usually a freelancer) and a technical sound designer (someone involved with implementation through middleware).

I have to admit I don't play games... so there are typically voice overs and dialogue on a game? I thought they are mostly background music with the dialogue in text across the screen. Also, I am wondering about varying the music with more than one composer, from the original source material; in that case, the sound designer could work with the various sources, including voice over, couldn't they? And the game sound designer is a specialist sound designer, not the same as for film, right? I have already met somebody who I think fits this general description if you could confirm for me the sound design as I have outlined would be efficient for me. Thanks Alessandro.

Well it really all depends on the kind of game you want to make. A small mobile app would have dialogue in the form of subtitles, in order to accommodate for a smaller “memory budget”. Large console/computer games would be as large (larger?) as a film and would feature a combination of linear (“cinematics”) and non linear narration. Sound reflects that. Video games sound and music are very specific and different from films because of the non-linear and generative nature they feature. A sound designer could take care of both sound and voice over, yes, if the budget doesn’t allow for more specialization and if she/he is up to the task. But the assets would still need to be implemented through middleware and/or the game engine so you’ll need to make sure the sound designer and the composer you hire to do the job would have some sort of experience in doing that.

Well, it was suggested I come over and re-introduce myself, as it's been quite some time... So, I do have some exciting news to share with you folks, regarding the successful launch of my podcast, a few days ago,' titled Voices from the Other Side.' I believe this does fit the "Transmedia " description,... As host/ producer/journalist, once a month I am charged (no pun) with creating/ producing/ interviewing , as well as editing each episode with the 'story' and theme focusing on incarcerated individuals, be they incarcerated and serving out their time in either local, state or federal facilities within the Department of Corrections. I'll leave it at that for now, as not sure how appropriate to proceed at this point ..Thank you so much for your time !

Hey Scot never heard word “Polyglots” before. Hee hee can call myself something new!

Transmedia, in effect, the writer does it all - a fantastic, busy learning experience. To succeed, you have to be a "natural" student - one who is obsessed with acquiring new info, trends and ideas incessantly in all areas of content creation; a creator with absolutely no limits. See nanschuler.com for MIDNIGHT WOODS, past works and the debut of NiveKNews audible October 6th at 7pm. Join us !!.

Many thanks for your post @Nan. Yes you are right, its essential to be in student mode for Transmedia as it is growing and changing constantly, with ever increasing possibilities. I am also in student mode in general with Art, always craving more information and always flying in somewhere to meet a Guru at their craft. I just love your words WITH NO LIMITS! I look forward to seeing your work after October 6th. Hopefully Im hooked up to Wi Fi that day. We up in mountains soon and sometimes router is inconsistent.

It started in marketing. It is also using various media channel to tell the whole story. Think of the Matrix. You have movies, plus an animated series, graphic novels etc. They all built one huge coherent story. If you stand in one media that was okay as well. But if you went across all media you had a better experience. This builds a more connected customer. Here is tends to be repurposed content. One thing used n many places.

Thx, guys!

Such as video games, comic books, cartoons, happy meals, toys, etc?

Love this Marketing strategy but not for every story

It started out as a way of describing the "world", especially the online world of a film. Like the old website for Blair Witch Project and the Matrix. It focused on a kind of not only marketing, but bonus materials for fans. (The Matrix's website wasn't really marketing, it was password protected bonus content for people who saw the film.)

Unfortunately, over the past 15 or 20 years, it has been adapted by academics to mean any sort of adaptation or franchise.

I like the old meaning, of an extended, fun world. (The reason it was online to begin with was that online wasn't seen as a money earner, and transmedia was meant to be more of a bonus, non-commercial addition.)

http://de.thekasaantimes.de/advertising-and-content-management-english-v...

Hi it would help if there was a link to the character. Thanks!

THERE ARE NO RULES. Anyone can pay a pound and set up "A FILM FESTIVAL". If in doubt check out Companies House website. ART RULES....BUT THERE ARE ALWAYS CHANCERS!

Nkanaya, I would not participate in a film festival with a conflict of interest...for standard festival rules to set the bar domestically US look to Sundance, and others Internationally look to Caanes, Toronto or TribeccaTribecca.

A lot of festivals set the bar domestically, but are nevertheless “businesses”. A wage is drawn by owners and the publics interest in the films shown is secondary. As far as “Festivals” go I think there are no particular rules that are compulsory to set the bar. There are some film festivals that cost a lot to both enter the film in the competition and sit in the audience ....and on the other spectrum theres a couple of festivals charging minimal amounts. At the end of the day its the quality of films shown and the impact and memory they have on audience that count. (Aswell as being noticed by producers etc internationally.) For several years myself and sponsors studied Sundance/European Festivals etc but the magic bullet was the films themselves. Im in the process of organising a festival after many years study of others.

As a rule if I knew someone involved in a film festival (who also knows the judges) and also entered a film I would not participate. Should that film win how would the audience know it was chosen fairly. Granted I haven'e attended international film festivals, but never knew any that entered and work for the festival also. I'd like to know who they are.

Nkanya Nkwai Check out FILM FREEWAY they have the rules for 100's of festivals.