New paradigm shifts in the industry have flooded the market with cheap digital technology, a democratization in production and distribution platforms, access to fans and online audiences, opportunities to create sustainable practices, crowd funding initiatives and create cross- and transmedia-products.
My practice-led research resulted in a case study, published thesis and documentary film project. Web and social media based content provides historical archive for further research and reflective practice.
Methodologies included the use of online video clips/recycled media, user-generated content, textural and video content via multiple social media sites, blogs and video podcasts, use of cheap technology, mobile phones and flip camera to capture interviews, and other media-related material.
Exchanging information with online community via websites, such as YouTube, Facebook, Twitter and Wordpress provided outreach, promotion and content creation for use in cross-media project. Engaging with subjects and online community created a rich environment in which to gain trust, share ideas, create content, share news and express ideological views across social, racial, geographical and ethical divides. Aesthetics were a main concern in creating production value, but was not inherently valuable to the resulting outcome of the film itself. The use of cheap technology, mobility and access to the community 24/7 proved more valuable in exchange of content and ideas, which ultimately provided narrative themes as well as original content for the project.
Social media storytelling was useful and engaging, allowed for expressions of ideology, ideas and personal sharing that might not otherwise be available in traditional settings, such as interviews. The environment was one of anonymity, but yet completely exposed because of the technical nature of the posting in the internet ether.
The audiences participation before the project started production was an invaluable resource in the narrative storytelling thread. Themes had yet to be established, even though the community was engaged and prodded to participate on a variety of topics to incite participation and create story content visually, aurally and texturally.
Creation of various transmedia projects, which was its initial purpose, takes an army. There are many considerations when producing in this way and each individual project has to be created with the same precision that an individual documentary or fiction film needs in order to plan, produce and output. Within the scope of each project has to be a symbiosis or synergy that keeps each project within the main overall theme.
Again, key planning is a major source of this methodology. Planning in the development, technology, production, marketing and distribution phases are all key. Constant adaptation is necessary along the fold when creating in a participatory environment. What is initially planned as a narrative thread, may not manifest itself in the outcomes once all content is gathered and a narrative must be created in post-production.
Creative control is achievable, even in the participatory environment. In the planning stages, it was perceived that the audience would dictate how the story would manifest. However, during the course of production and creating content, the audience is very amicable and willing to be guided into areas the creator pushes them in. You either get feedback and content, or the community doesn’t respond well or at all. It also creates an environment for feedback and discussion; what works or doesn’t, which saves valuable time in the post-production elements and focus groups.
Digital Technology, Social Media and the Emerging Documentary Production Methodologies
•Cheap Digital technology•Industry Democratization• Access to audiences•Sustainable practices•Crowd funding support•Fan-building initiatives•Social media landscapes•Transmedia products
What Does a 21st Century Feminist Look Like? http://youtu.be/bmuxO7MUQtghttp://www.youtube.com/21stcenturyfeminist
Utilizing social media, digital technology, alternative productionmethodologies and various new delivery strategies and analysing theimpact this has on the film’s message and creative process.•Open source stock clips•Recycled archives•UGC•Social Media•Blogs & Podcasts•Cheap technology•Mobile Phones•Flip Cameras
Exchanging information with online community via websites, such asYouTube, Facebook, Twitter and Wordpress provided outreach, promotionand content creation for use in cross-media project.
1. Utilizing social media to engage with your community allows for greater reach beyond traditional methods of production.2. The virtual interaction and cross-media content produced through news feeds, video shares, music, stills, blogs, tweets and textural means creating a viable source of content that can be utilized in transmedia productions.3. Content also provides archival and historical records of engagement.
1. Opportunities for communities to get involved in projects unique to their interests.2. Different modes of practice can be created in transmedia projects allowing various means of contribution across platforms.3. Building a fan-base and awareness for a particular story or issue.4. Creating sustainability for future projects.
1. Multiple streams of creative content. 2. Audience engagement and User Generated Content. 3. Multiple events increase awareness of project or cause. 4. Recycle content or remix it into various versions of main project. iTunes, Internet & Web Shows Blogs & Video PodcastsWeb Series Phone Apps Feature Film Ga Gallery InstallationsBook or Graphic Novel Webdoc Shor ts me Interactive s Comics L iv e
Key structure and planning is essential to reaching allgoals of production, research, funding, engagement,management, administration, output, promotionand distribution. These are beyond the traditionalproduction methodologies in place.
THE VALUE of building a socialmedia framework around yourproject & yourself.•A chance for feedback anddiscussion.•An opportunity to build anaudience around one’s work thatcan travel beyond a singleproject.•A creative outlet.