A work on the transmedia producer figure (spanish).
Un trabajo sobre la figura del productor transmedia, tal y como se la conoce en 2014, inspirado en el trabajo de Jeff Gomez.
This document describes challenges in selling a client on a transmedia planning approach. It roleplays a conversation where the strategist explains key aspects of transmedia to a skeptical client, including evolving nonlinear narratives told across multiple channels, world building, and empowering consumers to share and discuss different parts of the story. The client voices concerns about complexity, expense, lack of consumer testing, and giving up control. The strategist acknowledges it can be easy for clients to say no but that transmedia approaches are being adopted in entertainment and may spread to other industries over time.
How to pitch cross platform projects and what materials you need. Presented by Kirsty Hunter, UK MD of The Project Factory at the Documentary Campus in Sheffield in June 2011.
"Transmedia & Advertising: What Advertisers, Marketers, Brands & Businesses Can Learn from Transmedia Storytelling" - presentation from "The Story To Sell", a conference on transmedia storytelling held in Amsterdam on 11 June 2009. Presentation by Ivan Askwith, Senior Content Strategist at Big Spaceship
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Gaming: The Genre of Transmedia Used Within Star WarsMolly Trumble
Molly - Web Play, Games and Gamification - Assignment 2: Case Study
The content within this body of work is licensed under the Creative Commons Attribution License and was created for Academic Purposes. The opinions and words expressed are that of the author and not a reflection of any associated institution.
The use of copyrighted logos, images and figures within this body of work falls under the Fair Dealing exclusion to Australian Copyright Law, for the purposes of Criticism and Review. All works have been appropriately attributed to the relevant legislates.
The Age Of Transmedia: How Brands Can Tell Better StoriesVincent Teo
This presentation looks at the rise of Transmedia Storytelling in the context of brand communications and advertising and shows 3 simple steps on how to start developing Transmedia campaigns that will create immersive and engaging brand experiences
El desafío de los MOOC, su evolución en la universidad. Diseño instruccional...Miguel Zapata-Ros
Presentación utilizada en la conferencia sobre el tema "Desafío de los MOOC" en el Primer Seminario "MOOC: posibilidades y límites para la educación superior", Universidad Nacional de Quilmes.
This document describes challenges in selling a client on a transmedia planning approach. It roleplays a conversation where the strategist explains key aspects of transmedia to a skeptical client, including evolving nonlinear narratives told across multiple channels, world building, and empowering consumers to share and discuss different parts of the story. The client voices concerns about complexity, expense, lack of consumer testing, and giving up control. The strategist acknowledges it can be easy for clients to say no but that transmedia approaches are being adopted in entertainment and may spread to other industries over time.
How to pitch cross platform projects and what materials you need. Presented by Kirsty Hunter, UK MD of The Project Factory at the Documentary Campus in Sheffield in June 2011.
"Transmedia & Advertising: What Advertisers, Marketers, Brands & Businesses Can Learn from Transmedia Storytelling" - presentation from "The Story To Sell", a conference on transmedia storytelling held in Amsterdam on 11 June 2009. Presentation by Ivan Askwith, Senior Content Strategist at Big Spaceship
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Gaming: The Genre of Transmedia Used Within Star WarsMolly Trumble
Molly - Web Play, Games and Gamification - Assignment 2: Case Study
The content within this body of work is licensed under the Creative Commons Attribution License and was created for Academic Purposes. The opinions and words expressed are that of the author and not a reflection of any associated institution.
The use of copyrighted logos, images and figures within this body of work falls under the Fair Dealing exclusion to Australian Copyright Law, for the purposes of Criticism and Review. All works have been appropriately attributed to the relevant legislates.
The Age Of Transmedia: How Brands Can Tell Better StoriesVincent Teo
This presentation looks at the rise of Transmedia Storytelling in the context of brand communications and advertising and shows 3 simple steps on how to start developing Transmedia campaigns that will create immersive and engaging brand experiences
El desafío de los MOOC, su evolución en la universidad. Diseño instruccional...Miguel Zapata-Ros
Presentación utilizada en la conferencia sobre el tema "Desafío de los MOOC" en el Primer Seminario "MOOC: posibilidades y límites para la educación superior", Universidad Nacional de Quilmes.
El documento habla sobre la narrativa transmedia y el storytelling. Explica que la narrativa transmedia involucra contar historias a través de múltiples plataformas para involucrar a los consumidores de una manera más activa. También menciona que el storytelling es una herramienta importante para conectar emocionalmente a los usuarios con las marcas a través del arte de contar historias de manera atractiva. Además, enfatiza la importancia de vincular las piezas de contenido entre plataformas para crear una sincronía narrativa
Jeff Gomez explains dynamic techniques to access your audience in the digital age, at Power to the Pixel's annual Cross-Media Forum in London, Oct 2011
El documento describe cómo el mundo se ha vuelto más líquido y cambiante, requiriendo que las empresas creen y comuniquen su valor de manera más compleja. El storytelling es fundamental para darle sentido e identidad a las empresas en este contexto, ya que es la forma natural en que los humanos interpretan y entienden el mundo a través de las emociones y los valores. El relato permite comunicar el contenido emocional de los valores de una organización de manera que motive a la acción.
Este documento proporciona una plantilla para crear una "Biblia Transmedia", un documento guía para el desarrollo de proyectos narrativos a través de múltiples plataformas. La plantilla incluye secciones para el tratamiento narrativo, las especificaciones funcionales, el diseño, las especificaciones técnicas y el plan de negocio/marketing. El objetivo es servir como herramienta para la planificación, documentación y coordinación de proyectos transmedia complejos que involucren varias plataformas y equipos multidiscipl
La repercusión de la Narrativa Transmedia en la gestión culturalAna Lastra
Dentro del ámbito cultural, la revolución digital e Internet están influyendo, incluso, modificando ciertos aspectos del contenido, su modo de consumo y el público. Este hecho ha propiciado la aparición de nuevos métodos de financiación y promoción, herramientas de distribución y nuevas narrativas. Entre estas nuevas narrativas desarrolladas, destaca la Narrativa Transmedia. Su utilización ha ido en aumento dentro de la ficción audiovisual y se han empezado a aplicar sus procesos de trabajo y características en otras disciplinas de las ciencias sociales como son la educación, el marketing y el periodismo, entre otros.
En la presente investigación se analiza la pertinencia de la utilización de la Narrativa Transmedia dentro de los procesos de Gestión Cultural y sus posibles beneficios. Por ello, se ha establecido el análisis de las características de esta narrativa, la evaluación de la Gestión Cultural actual y el estudio del papel del prosumidor dentro del producto cultural. Para obtener toda esta información se ha procedido a recopilar material bibliográfico, estudios de caso relacionados y la opinión de expertos en la materia. De esta manera, se espera proporcionar una aplicación de esta narrativa que suponga una herramienta más a disposición del gestor cultural.
El documento describe los roles clave en un equipo de producción de video. El productor supervisa el presupuesto y las decisiones mayores. Un guionista elabora el guión. El talento incluye actores y presentadores. El director coordina las actividades en el set. El director técnico opera el switcher de video. Otros roles incluyen asistentes de producción, director de iluminación, diseñador de escenografía, maquillaje, vestuario, sonido, operador de micrófono boom, script, camarógrafos, jefe de piso y editor.
El documento describe los componentes clave de un estudio de televisión tradicional, incluyendo el set o plató, el área de grabación, el control y otras dependencias. Explica cómo ha evolucionado la tecnología de las cámaras y micrófonos de televisión. También discute los estudios virtuales emergentes que permiten la integración de personas y objetos generados por computadora.
Este documento resume el concepto de transmedia storytelling. Explica que se trata de contar historias a través de múltiples plataformas para crear una experiencia unificada. Distingue entre el estilo de la costa oeste, que se enfoca en crear universos narrativos a largo plazo, y el estilo de la costa este, que se centra más en contar una historia específica de forma fragmentada a través de múltiples canales. También proporciona varios ejemplos exitosos de proyectos transmedia.
The document discusses the Transmedia Lens Framework for analyzing different types of transmedia storytelling. It explains that transmedia has evolved from single medium narratives to stories told across multiple platforms. The framework uses two lenses: the type of property (entertainment franchise or marketing campaign) and the format (storyworld or alternate reality game). This allows for a simplified discussion of transmedia opportunities in entertainment and marketing.
The famous Harry Potter sorting hat. It’s a fitting metaphor for this presentation, as I sort through the emerging history of transmedia storytelling. I will start by discussing my own background, and sharing my current obsessions for certain stories, explore definitions, precursors, breakthroughs, current examples and resources.
1) The document summarizes a media studies evaluation of a horror/mystery film product created by the authors for their class.
2) It discusses how the product used conventions like dark atmosphere, eerie music, and death to resemble real horror films.
3) The intended audience was identified as teenagers aged 15+ based on feedback from classmates and the planned 15/18 age rating.
4) The product was shared on YouTube and social media to attract this target audience and get worldwide feedback on the project.
The document summarizes HGL Productions' plans for distributing their psychological thriller film "Exitus." They plan to partner with Universal Pictures as both the production company and distributor due to Universal's success with thriller films like Ouija. HGL Productions will use Kickstarter to help fund the film and offer backers rewards. Their production company logo and film title cards are designed to clearly identify HGL Productions and the film. They intend to distribute the film through both traditional theaters and streaming services like Netflix and Now TV to reach a wide global audience.
The document summarizes a production company's plans to produce a psychological thriller film titled "Exitus" and distribute it through Universal Pictures. It discusses establishing HGL Productions as the production company and researching Universal as a major distributor of blockbuster and thriller films. It also outlines plans to use Kickstarter for funding and market the film through streaming services like Netflix and Now TV to reach a wide audience.
The Dark Knight was distributed globally by Warner Bros. Pictures in theaters in 2008. It had an enormous marketing campaign including viral marketing and promotional partnerships. The film was a major commercial success, becoming one of the highest grossing films ever and receiving widespread critical acclaim particularly for Heath Ledger's performance as the Joker.
The document summarizes information about distributing a media product through a production company. It discusses the roles and responsibilities of production companies in managing budgets, scheduling, and marketing. It proposes partnering with Universal Pictures as the production and distribution company due to their success with films like Jurassic World and experience with thriller genres. Kickstarter is presented as a way to gain funding and support from backers. The production company name, HGL Productions, and logo are explained. Finally, online streaming services like Netflix are discussed as popular ways for audiences to access films.
AltForge Entertainment is developing a video game called Project Memoria to tell a story about depression. The game aims to provide insight into mental disorders through an immersive experience with beautiful art and a novel story. The team believes this can help bridge understanding between those with neurodiversity and the general public. They plan to self-publish on Steam to reach their target audience of fans of story-driven indie games. Market research shows the video game industry is growing and the niche indie game segment remains underserved despite a large audience.
This document provides an overview of transmedia storytelling and concepts related to exploring stories across multiple platforms. It discusses early narrative films, the definition of "art" and how it varies by culture. It also examines moving beyond traditional theatrical structures like the fourth wall and three unities. Additional topics covered include the relationship between crossmedia and transmedia, audience participation, and new business models in transmedia.
This was a presentation that I gave back in April. Since then we have done more advanced Transmedia work and I hope to share that case study soon when we get the full results. Sorry it took so long to upload this.
El documento habla sobre la narrativa transmedia y el storytelling. Explica que la narrativa transmedia involucra contar historias a través de múltiples plataformas para involucrar a los consumidores de una manera más activa. También menciona que el storytelling es una herramienta importante para conectar emocionalmente a los usuarios con las marcas a través del arte de contar historias de manera atractiva. Además, enfatiza la importancia de vincular las piezas de contenido entre plataformas para crear una sincronía narrativa
Jeff Gomez explains dynamic techniques to access your audience in the digital age, at Power to the Pixel's annual Cross-Media Forum in London, Oct 2011
El documento describe cómo el mundo se ha vuelto más líquido y cambiante, requiriendo que las empresas creen y comuniquen su valor de manera más compleja. El storytelling es fundamental para darle sentido e identidad a las empresas en este contexto, ya que es la forma natural en que los humanos interpretan y entienden el mundo a través de las emociones y los valores. El relato permite comunicar el contenido emocional de los valores de una organización de manera que motive a la acción.
Este documento proporciona una plantilla para crear una "Biblia Transmedia", un documento guía para el desarrollo de proyectos narrativos a través de múltiples plataformas. La plantilla incluye secciones para el tratamiento narrativo, las especificaciones funcionales, el diseño, las especificaciones técnicas y el plan de negocio/marketing. El objetivo es servir como herramienta para la planificación, documentación y coordinación de proyectos transmedia complejos que involucren varias plataformas y equipos multidiscipl
La repercusión de la Narrativa Transmedia en la gestión culturalAna Lastra
Dentro del ámbito cultural, la revolución digital e Internet están influyendo, incluso, modificando ciertos aspectos del contenido, su modo de consumo y el público. Este hecho ha propiciado la aparición de nuevos métodos de financiación y promoción, herramientas de distribución y nuevas narrativas. Entre estas nuevas narrativas desarrolladas, destaca la Narrativa Transmedia. Su utilización ha ido en aumento dentro de la ficción audiovisual y se han empezado a aplicar sus procesos de trabajo y características en otras disciplinas de las ciencias sociales como son la educación, el marketing y el periodismo, entre otros.
En la presente investigación se analiza la pertinencia de la utilización de la Narrativa Transmedia dentro de los procesos de Gestión Cultural y sus posibles beneficios. Por ello, se ha establecido el análisis de las características de esta narrativa, la evaluación de la Gestión Cultural actual y el estudio del papel del prosumidor dentro del producto cultural. Para obtener toda esta información se ha procedido a recopilar material bibliográfico, estudios de caso relacionados y la opinión de expertos en la materia. De esta manera, se espera proporcionar una aplicación de esta narrativa que suponga una herramienta más a disposición del gestor cultural.
El documento describe los roles clave en un equipo de producción de video. El productor supervisa el presupuesto y las decisiones mayores. Un guionista elabora el guión. El talento incluye actores y presentadores. El director coordina las actividades en el set. El director técnico opera el switcher de video. Otros roles incluyen asistentes de producción, director de iluminación, diseñador de escenografía, maquillaje, vestuario, sonido, operador de micrófono boom, script, camarógrafos, jefe de piso y editor.
El documento describe los componentes clave de un estudio de televisión tradicional, incluyendo el set o plató, el área de grabación, el control y otras dependencias. Explica cómo ha evolucionado la tecnología de las cámaras y micrófonos de televisión. También discute los estudios virtuales emergentes que permiten la integración de personas y objetos generados por computadora.
Este documento resume el concepto de transmedia storytelling. Explica que se trata de contar historias a través de múltiples plataformas para crear una experiencia unificada. Distingue entre el estilo de la costa oeste, que se enfoca en crear universos narrativos a largo plazo, y el estilo de la costa este, que se centra más en contar una historia específica de forma fragmentada a través de múltiples canales. También proporciona varios ejemplos exitosos de proyectos transmedia.
The document discusses the Transmedia Lens Framework for analyzing different types of transmedia storytelling. It explains that transmedia has evolved from single medium narratives to stories told across multiple platforms. The framework uses two lenses: the type of property (entertainment franchise or marketing campaign) and the format (storyworld or alternate reality game). This allows for a simplified discussion of transmedia opportunities in entertainment and marketing.
The famous Harry Potter sorting hat. It’s a fitting metaphor for this presentation, as I sort through the emerging history of transmedia storytelling. I will start by discussing my own background, and sharing my current obsessions for certain stories, explore definitions, precursors, breakthroughs, current examples and resources.
1) The document summarizes a media studies evaluation of a horror/mystery film product created by the authors for their class.
2) It discusses how the product used conventions like dark atmosphere, eerie music, and death to resemble real horror films.
3) The intended audience was identified as teenagers aged 15+ based on feedback from classmates and the planned 15/18 age rating.
4) The product was shared on YouTube and social media to attract this target audience and get worldwide feedback on the project.
The document summarizes HGL Productions' plans for distributing their psychological thriller film "Exitus." They plan to partner with Universal Pictures as both the production company and distributor due to Universal's success with thriller films like Ouija. HGL Productions will use Kickstarter to help fund the film and offer backers rewards. Their production company logo and film title cards are designed to clearly identify HGL Productions and the film. They intend to distribute the film through both traditional theaters and streaming services like Netflix and Now TV to reach a wide global audience.
The document summarizes a production company's plans to produce a psychological thriller film titled "Exitus" and distribute it through Universal Pictures. It discusses establishing HGL Productions as the production company and researching Universal as a major distributor of blockbuster and thriller films. It also outlines plans to use Kickstarter for funding and market the film through streaming services like Netflix and Now TV to reach a wide audience.
The Dark Knight was distributed globally by Warner Bros. Pictures in theaters in 2008. It had an enormous marketing campaign including viral marketing and promotional partnerships. The film was a major commercial success, becoming one of the highest grossing films ever and receiving widespread critical acclaim particularly for Heath Ledger's performance as the Joker.
The document summarizes information about distributing a media product through a production company. It discusses the roles and responsibilities of production companies in managing budgets, scheduling, and marketing. It proposes partnering with Universal Pictures as the production and distribution company due to their success with films like Jurassic World and experience with thriller genres. Kickstarter is presented as a way to gain funding and support from backers. The production company name, HGL Productions, and logo are explained. Finally, online streaming services like Netflix are discussed as popular ways for audiences to access films.
AltForge Entertainment is developing a video game called Project Memoria to tell a story about depression. The game aims to provide insight into mental disorders through an immersive experience with beautiful art and a novel story. The team believes this can help bridge understanding between those with neurodiversity and the general public. They plan to self-publish on Steam to reach their target audience of fans of story-driven indie games. Market research shows the video game industry is growing and the niche indie game segment remains underserved despite a large audience.
This document provides an overview of transmedia storytelling and concepts related to exploring stories across multiple platforms. It discusses early narrative films, the definition of "art" and how it varies by culture. It also examines moving beyond traditional theatrical structures like the fourth wall and three unities. Additional topics covered include the relationship between crossmedia and transmedia, audience participation, and new business models in transmedia.
This was a presentation that I gave back in April. Since then we have done more advanced Transmedia work and I hope to share that case study soon when we get the full results. Sorry it took so long to upload this.
Sizzlepitch, a Hollywood film production company, has signed a 10-film development deal with Donahue Literary Properties, an Ohio-based company. As part of the deal, Donahue will provide 10 feature film scripts written by father-son team Mark and Matthew Donahue. Sizzlepitch will provide development support including trailers, budgets, and websites to help package and market each project. Both companies felt this was a good opportunity to collaborate and help get Donahue's film scripts produced.
Taking a look at storytelling in the digital era, keeping in mind the three-legged stool -- content, technology, and business model. Lots of examples. Lots of links. I used this in a presentation to a media studies class at Woodbury University on March 31, 2014
Motivational Essay. Online assignment writing service.Laura Smith
The Clean Up Mumbai Campaign is an initiative by the Municipal Corporation of Greater Mumbai to address the city's solid waste management issues, as Mumbai produces around 6,500 tons of garbage and 2,500 tons of construction debris daily. The campaign aims to help enforce the Greater Mumbai Cleanliness And Sanitation Byelaws 2006 to reduce litter and waste in public spaces by fining those who spit paan or improperly dispose of garbage. The initiative also looks to raise awareness among citizens about their role in keeping Mumbai clean.
A look at emerging trends in content. This is the latest version which was delivered at Content Strategy Philly, May 24th, 2016. Premiered at Content Camp + PodCamp Philly on September 19th, 2015.
Beyond the Rift: Virtual Reality Games and the Future of CommunicationJeannie Novak
This document discusses the future of virtual reality and communication. It argues that VR will transform how people interact and share experiences by making them feel truly present with others. As VR technology advances, it will allow for new forms of symbolic and abstract communication. The document also speculates that in the future, people may inhabit virtual environments in space through VR suits and use VR games to train virtual agents to take over procedural and declarative tasks, freeing up human cognition for higher-order thinking and problem solving. This could lead to the emergence of a "superorganism" where humans and virtual beings work together in a cognitive network.
Similar to La figura del productor transmedia (20)
Gamification uses game mechanics and design to motivate and engage people to achieve goals. It reconnects adults with their inner child by providing challenges we freely choose and a safe environment to learn and develop new skills like teamwork and communication. Basic gamification tools include points, badges, leaderboards, and feedback to track progress. When applied to areas like education, business, and healthcare, gamification can help improve learning, research, and personal development through meaningful goals, social skills, and leaving one's comfort zone. The minimum requirement to implement gamification is to define goals, identify weaknesses, and design tailored solutions.
Un análisis sobre los conceptos historia, narración y relato, ejemplificados a través de la novela de Orson Scott Card "El Juego de Ender", para enseñar las diferencias entre ellos.
El documento presenta un manifiesto transmedia en 11 puntos: 1) Ya no somos espectadores, sino experimentadores que nos sumergimos en historias. 2) Los conceptos y mensajes pueden perdurar a través del tiempo mediante diferentes medios. 3) Crear una narrativa es como componer una canción con diferentes instrumentos que armonizan una historia. 4) Las narrativas más potentes involucran emocionalmente a las personas. 5) Darle a los experimentadores un espacio en la historia para que se fusionen con el universo transmediático. 6) Crear
An example on brand environment, DC Comics based (spanish).
Un ejemplo de mundo marca en el mundo del entertaniment, con DC Como caso de estudio, y su expansión a través de los medios.
A work about the evolution of Google, their path and new strategies, covering the development of their ARG Ingress, and what's after that with Google Glass implementation (spanish).
Un trabajo sobre la evolución de Google, su senda y nuevas estrategias, teniendo en cuenta el desarrollo de su ARG Ingress, y la implementación de las Google Glass.
Este documento describe una actividad realizada por 4 estudiantes para analizar la curva de interés al jugar el juego de mesa Dixit a lo largo de dos partidas. Describe las emociones y niveles de interés de cada jugador en diferentes momentos del juego mediante gráficas de curvas de interés. Al final, concluye que la experiencia les resultó muy interesante y que el juego les gustó, puntuándolo con un 9 sobre 10.
GraphRAG for Life Science to increase LLM accuracyTomaz Bratanic
GraphRAG for life science domain, where you retriever information from biomedical knowledge graphs using LLMs to increase the accuracy and performance of generated answers
A Comprehensive Guide to DeFi Development Services in 2024Intelisync
DeFi represents a paradigm shift in the financial industry. Instead of relying on traditional, centralized institutions like banks, DeFi leverages blockchain technology to create a decentralized network of financial services. This means that financial transactions can occur directly between parties, without intermediaries, using smart contracts on platforms like Ethereum.
In 2024, we are witnessing an explosion of new DeFi projects and protocols, each pushing the boundaries of what’s possible in finance.
In summary, DeFi in 2024 is not just a trend; it’s a revolution that democratizes finance, enhances security and transparency, and fosters continuous innovation. As we proceed through this presentation, we'll explore the various components and services of DeFi in detail, shedding light on how they are transforming the financial landscape.
At Intelisync, we specialize in providing comprehensive DeFi development services tailored to meet the unique needs of our clients. From smart contract development to dApp creation and security audits, we ensure that your DeFi project is built with innovation, security, and scalability in mind. Trust Intelisync to guide you through the intricate landscape of decentralized finance and unlock the full potential of blockchain technology.
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TrustArc Webinar - 2024 Global Privacy SurveyTrustArc
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
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- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
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Your One-Stop Shop for Python Success: Top 10 US Python Development Providersakankshawande
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Sidekick Solutions uses Bonterra Impact Management (fka Social Solutions Apricot) and automation solutions to integrate data for business workflows.
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This video focuses on automated letter generation for Bonterra Impact Management using Google Workspace or Microsoft 365.
Interested in deploying letter generation automations for Bonterra Impact Management? Contact us at sales@sidekicksolutionsllc.com to discuss next steps.
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I develop the Ruby programming language, RubyGems, and Bundler, which are package managers for Ruby. Today, I will introduce how to enhance the security of your application using open-source software (OSS) examples from Ruby and RubyGems.
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#MongoDB #VectorSearch #AI #SemanticSearch #TechInnovation #DataScience #LLM #MachineLearning #SearchTechnology
HCL Notes und Domino Lizenzkostenreduzierung in der Welt von DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-und-domino-lizenzkostenreduzierung-in-der-welt-von-dlau/
DLAU und die Lizenzen nach dem CCB- und CCX-Modell sind für viele in der HCL-Community seit letztem Jahr ein heißes Thema. Als Notes- oder Domino-Kunde haben Sie vielleicht mit unerwartet hohen Benutzerzahlen und Lizenzgebühren zu kämpfen. Sie fragen sich vielleicht, wie diese neue Art der Lizenzierung funktioniert und welchen Nutzen sie Ihnen bringt. Vor allem wollen Sie sicherlich Ihr Budget einhalten und Kosten sparen, wo immer möglich. Das verstehen wir und wir möchten Ihnen dabei helfen!
Wir erklären Ihnen, wie Sie häufige Konfigurationsprobleme lösen können, die dazu führen können, dass mehr Benutzer gezählt werden als nötig, und wie Sie überflüssige oder ungenutzte Konten identifizieren und entfernen können, um Geld zu sparen. Es gibt auch einige Ansätze, die zu unnötigen Ausgaben führen können, z. B. wenn ein Personendokument anstelle eines Mail-Ins für geteilte Mailboxen verwendet wird. Wir zeigen Ihnen solche Fälle und deren Lösungen. Und natürlich erklären wir Ihnen das neue Lizenzmodell.
Nehmen Sie an diesem Webinar teil, bei dem HCL-Ambassador Marc Thomas und Gastredner Franz Walder Ihnen diese neue Welt näherbringen. Es vermittelt Ihnen die Tools und das Know-how, um den Überblick zu bewahren. Sie werden in der Lage sein, Ihre Kosten durch eine optimierte Domino-Konfiguration zu reduzieren und auch in Zukunft gering zu halten.
Diese Themen werden behandelt
- Reduzierung der Lizenzkosten durch Auffinden und Beheben von Fehlkonfigurationen und überflüssigen Konten
- Wie funktionieren CCB- und CCX-Lizenzen wirklich?
- Verstehen des DLAU-Tools und wie man es am besten nutzt
- Tipps für häufige Problembereiche, wie z. B. Team-Postfächer, Funktions-/Testbenutzer usw.
- Praxisbeispiele und Best Practices zum sofortigen Umsetzen
2. Índice
Producers Guild of America 3
Jeff Gomez, Productor Multimedia 4
Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor transmedia? 5
El productor transmedia como guardián de la coherencia del universo NT 7
Resumiendo, ¿qué hace un productor transmedia? 8
3. 3
En Estados Unidos, una de las figuras que más
activamente ha trabajado para que se reco-
nozca la figura del productor transmedia es
Jeff Gómez, CEO de Starlight Runner Enter-
tainment miembro del Producers Guild of
America (ver su ficha).
El hecho de que PGA reconociera el título de
productor transmedia y que pueda figurar,
representa el reconocimiento de una evolu-
ción en el mundo del storytelling.
La PGA dio de alta la figura bajo esta descrip-
ción:
A Transmedia Narrative project or franchise
must consist of three (or more) narrative
storylines existing within the same fictional
universe on any of the following platforms:
Film, Television, Short Film, Broadband, Pub-
lishing, Comics, Animation, Mobile, Special
Venues, DVD/Blu-ray/CD-ROM, Narrative
Commercial and Marketing rollouts, and oth-
er technologies that may or may not currently
exist. These narrative extensions are NOT the
same as repurposing material from one
platform to be cut or repurposed to different
platforms.
A Transmedia Producer credit is given to the
person(s) responsible for a significant portion
of a project s long-term planning, develop-
ment, production, and/or maintenance of
narrative continuity across multiple platforms,
and creation of original storylines for new
platforms. Transmedia producers also create
and implement interactive endeavors to unite
the audience of the property with the canoni-
cal narrative and this element should be con-
sidered as valid qualification for credit as long
as they are related directly to the narrative
presentation of a project.
Transmedia Producers may originate with a
project or be brought in at any time during
the long-term rollout of a project in order to
analyze, create or facilitate the life of that
project and may be responsible for all or only
part of the content of the project. Transmedia
Producers may also be hired by or partner
with companies or entities, which develop
El mundo de la narrativa transmedia, tal y como lo conocemos a fecha de 2014, está en sus primeros pasos aún. Debido a su temprana
edad, existe mucha controversia respecto a las figuras que integran los equipos encargados de desarrollar las tareas para llevar a ca-
bo un proyecto transmedia.
El reconocimiento de la labor y las tareas de los productores transmedia es objeto de debate entre gremios, profesionales, y comunida-
des, y podríamos hablar incluso de una cruzada.
software and other technologies and who wish to showcase these inven-
tions with compelling, immersive, multi-platform content.
To qualify for this credit, a Transmedia Producer may or may not be pub-
licly credited as part of a larger institution or company, but a titled em-
ployee of said institution must be able to confirm that the individual was
an integral part of the production team for the project.
Haz click para ver el vídeo
Producers Guild of America
4. 4
Jeff Gomez, Productor Multimedia
Nacido en 1963, criado con todo el cariño y amor que
una madre de quince años podía proveer, Jeff Gomez
crecería escuchando cuentos y relatos mitológicos por
boca de su madre, para escapar (de alguna manera) a la
cruda realidad que era Estados Unidos en 1970 y subsis-
tir en el barrio donde fue construido “Bernard Baruch
Houses” en Nueva York. Aficionado desde pequeño a
estos relatos y a los que le llegaban por parte de la cul-
tura japonesa, inició su primera conexión con el em-
brión de la narrativa transmedia gracias a “Kikaider” y
unas vacaciones en Hawai (ver el video “Dare to Chan-
ge” para más información).
He aquí una pequeña entrevista realizada a Jeff Gomez
por otra importante figura de la narrativa transmedia,
Henry Jenkins.
As the Chief Executive Officer of Starlight Runner Enter-
tainment, Jeff Gomez is a leading creator of highly suc-
cessful fictional worlds. He is an expert at cross-
platform intellectual property development and trans-
media storytelling, as well as at extending niche proper-
ties such as toys, animation or video game titles into
the global mass market. After establishing himself in
the tabletop adventure game industry, Jeff helped to
develop the super hero universe of Valiant Comics,
adapting its characters and storylines into videogames
for Acclaim Entertainment. Jeff’s first transmedia effort
was for the Wizards of the Coast trading card game
Magic: The Gathering, where he dramatized the mytho-
logy of the cards in an elaborate storyline across a se-
ries of comic book titles, web sites and videogames.
Jeff conceived and co-produced one of the most suc-
cessful transmedia storylines of the decade with
Mattel’s Hot Wheels: World Race and Hot Wheels Acce-
leracers comic books, video games, web content and
animated series for television. He has gone on to work
with such blockbuster properties as Pirates of the Carib-
bean and Fairies for The Walt Disney Company, James
Cameron’s Avatar for 20th Century Fox, and Happiness
Factory for The Coca-Cola Company.
Jeff has also spoken at M.I.T.’s Futures of Entertain-
ment conference and given his seminar, Creating Block-
buster Worlds: Developing Highly Successful Transme-
dia Franchises, to the Game Developers Conference,
New York State Bar Association, International Game
Developers Association and the Producers Guild of
America, as well as to such corporations as Disney, Fox,
Microsoft, Coca-Cola, Scholastic, Wieden+Kennedy, and
Hasbro.
VIDEO: Jeff Gomez: Dare to Change
ENTREVISTA: Henry Jenkins on Jeff Gomez (1)
ENTREVISTA: Henry Jenkins on Jeff Gomez (2)
5. 5
Una de las mejores maneras de entender cuáles son las tareas de un productor transmedia, es
escuchar a los propios profesionales, compartiendo su visión y experiencias. En 2012, Jeff Brid-
ges fue entrevistado por la cadena Shaw TV, en el programa “The Rush”, donde explicó cuál es
su trabajo como productor transmedia.
Interviewer – Before we knew you were coming on, I had hear on transmedia producer before
once or twice, but I dind’t actually know what it was, but I will leave the explanation up to you.
What you do?
J.G. – Okay. It's actually the funniest job in the world. The transmedia producer is someone who
comes into an intellectual property story world and defends and protects it as it moves across
multiple media platforms.
Interviewer – We’re talking movies, games, graphic novels, toys, I mean…
J.G. – Absolutely. Every conceivable media platform, digital and traditional.
Entre sus diferentes trabajos, habla de su labor en el universe de Men in Black.
J.G. - M.I.B. Example: "Awesome, it was just awesome. This is a situation where the studio Sony
pictures, they have this amazing universe, and they've made a few movies out of it, but what
people don't realise is that the universe is so rich and dense, and there's so many characters,
there's huge potential for videogames, comicbooks, novels... Just everything. And our job was to
kind of create this mythology which is this huge document, kind of a blueprint and guideline to
the entire M.I.B. universe."
[…] Interviewer - It's about how much you care about the story, the character, about th vialbil-
ity about what this actually is.
Y también comparte su experiencia trabajando para el desarrollo transmedia de la famosa saga
de videojuegos de Microsoft: “Halo”:
J.G. - HALO Example: Halo is so cool because you have a big smash it videogame that is super-
succesful on one media platform, but what a Halo novel would be like? What would a Halo
graphicnovel would be like? Or a movie or things like that? Weel, sometimes the storytelling on
different media platforms is very different. You wanna play with the strengths of each media
platform. So what we do is show teh game developer how cool it would be for this characters to
Haz click para ver el vídeo
Jeff Gomez en “The Rush” (Shaw TV): ¿Qué es un productor
transmedia?
operate in different ways and tell different kind of stories on this
platform.
[…] Interviewer - You're a storyteller and kind of a co-creator.
En lo relative a películas, también estuvo envuelto en la saga “Piratas del
Caribe”.
J.G. - Pirates of the Caribbean Example: Here you had something that was
kind of a surprise hit for the Walt Disney Company. And So as they
ramped up to the second and third movies, they needed to kind of... It
was so rich and dense this universe, almost kind of hard to understand
for the layperson. We had to go in and figure out who this Jack Sparrow
character really was and what his...
Interviewer - So you need to be kind of a psychologist...
6. 6
Al margen de los universos transmedia a los que ha ayudado a dar forma a partir de películas o video juegos, Jeff Gomez apunta que hay un trabajo mucho más allá, que implica
la inmersión de todo se equipo en el mundo de origen del future proyecto transmedia, para conocer hasta el ultimo detalle, afin de crear toda la mitología y lo que nosotros
conocemos con el nombre de “biblia transmedia”.
J.G. - We get to work with the heads of the studios, the directors of the films, the screewritters, and we're absorbing huge amounts of information. My company it's got ten peo-
ple that is their job to absorb everything about these amazing fantasy universes, and then document them in this massive mythology documents.
Mucho más allá, los entrevistadores se cuestionan si existen otros puntos de partida para dar a luz estos universos, como puede ser una imagen de marca, un juguete, etc.
Interviewer - And this is really applicable to lots of different industries as we move forward, and as technology branches off in different directions, and the way we communicate
branches off in different directions. How important is this message to other businesses when they're participating in other mediums to tell a story?
J.G. - That’s a superb observation brands and companies all over the world need to be communicated nowadays through narratives. Theage of the 30 second commercial or the
print add is kind of fading. We need to establish dialogue between our story worlds or our brands and people. Because everyone now is taking more broadcast.
Interviewer - That dialogue in that style they're developing in this area and they try to jam it onto another way of communicating.
J.G. - You can't just repeat things anymore. You have to customize your message and your narrative to the features that are the strongest on each media platform, whether it's
mobile or tablet, or the web, or social media.
Interviewer - I think costumers had grown smarter too, so this mythology becomes more and more important. I mean, when you're working with films we've discussed that,
video games... But how do you work with toys? How do you enrich that environment?
J.G. - It all falls down to the essence of the brand or the story world. My team goes in and asks thousands of questions of our clients, so that we understand what makes these
brands unique and distinct, and what story they're telling to the consumer. Once we understand that, we have kind of the bones upon which to flesh out the story. We've done
this with Coca-Cola and Happiness Factory, and all kinds of consumer brands.
7. 7
Interviewer - How can you work with Coca-Cola?
J.G. - Well, there' were this commercials, called a Factory Happines about these animated character who
were building a bottle of coca-cola. That was 30 second long, but Coke came to us and said what would the
universe be like with these characters? And how can we continue to... Because it was so popular, spread the
message of the happiness factory which is about innocence, and about deliciousness, and Coca-cola... But
also about adventure and the spirit of quests and make the world a happier place.
Haz click para ver el vídeo
El productor transmedia como guardián de la coherencia del universo NT
Como hemos podido aprender, a través de las palabra de Jeff y de los ejemplos que ha compartido con noso-
tros, una de las misiones del productor transmedia es recoger la historia matriz, estudiar todo lo relacionado
con el mundo que le da origen, y utilizar este conocimiento como la semilla para expandir un universo mu-
cho más enriquecido en el que, además, los usuarios tendrán un papel muy importante para su propagación.
Todo el saber se recopila en un documento, que conocemos como “biblia transmedia”, y al que Jeff se refie-
re como la “mitología”. Gracias a esta estructura podremos ir construyendo el nuevo universo evitando las
incoherencias.
Por ejemplo, sabremos qué le pasa a cada personaje y cuándo, y con quién se relacionaba, y seremos cons-
cientes de los vacíos en la historia que permiten un hueco suficiente para que los fans que lo deseen puedan
llenar la narración gracias a su propia imaginación. Tendremos un detalle de las localizaciones y los eventos
que se suceden.
Este conocimiento nos permite decidir cuál son los medios conductores y cuáles las plataformas de soporte,
y decidir la implementación del plan de actuación a largo plazo, proyectándonos hacia el futuro, con la tran-
quilidad de que aun con el pasar de los años, el universo seguirá manteniendo su sentido.
Ser el guardián que cohesione los medios y que consiga que la narración mantenga el espíritu y la coherencia
incluso a largo plazo, es una de las tareas vitales del productor transmedia.
VIDEO: The great Happification
VIDEO: Anuncio de Coca Cola Happiness Factory
WEB: Happiness Factory study material
WEB: Post Happiness Factory (includes art)
WEB: Psyop keeps us happy
8. 8
Resumiendo, ¿qué hace un productor transmedia?
Productor
transmedia
Vela por la inte-
gridad de la histo-
ria en las diferen-
tes plataformas
Cuida el diseño y
desarrollo de la
experiencia narra-
tiva
Planificación y
coordinación del
proyecto y el
equipo necesario
Los productores transmedia, pues, son expertos en explicar historias de manera activa, utilizando muchos medios y plataformas, para entretener, comunicar e informar a las
personas. Como creadores, conciben, escriben y transforman ideas creativas en proyectos que fluyen a través de diferentes plataformas a la vez, adaptando los productos a
cada medio. Como “directores de orquesta”, planifican, desarrollan, orquestan, garantizan y buscan financiación para el proyecto.
Ayudan al cliente
a identificar los
objetivos del pro-
yecto
Marca metas
alcanzables te-
niendo en cuenta
la cultura de con-
vergencia
Promueven la
interacción con
los fans y la au-
diencia
Cambios de plataformas
Call to action
Seguimiento crecimiento de la
comunidad de fans
Estimación del conocimiento de
la marca
Conocer su audiencia
Medir el riesgo
Prepararse para la incertidumbre
Entender la interacción con la
9. 9
El productor transmedia vela por el proyecto, porque como nos decía al final de su video: “Dare to change” (TED 2010):
“Transmedia can be used to mislead.
We can become isolated, we can become addicted, we can be lost in mundanity. The endless everyday. Trust me when I say this is possible, because I’ve experienced it myself.
Transmedia, within a few years can be read to seem to listen to you, and to offer you what you want, but really people, only human beings can give you what you need. We are
storytellers.
We have to tap our audiences into what I’m calling and you’ve been hearing references to this all day: the grand narrative. The grand narrative that forms those initial religions
that form the epic poems, and the great novels. The things that made us question who we are and go out in search of our very souls. We have to teach people to question reali-
ty. If I didn’t know during that first couple of years what love was, what nurturing was, what warmth was, I would have accepted the chaos as the norm. I would have been lost
in the endless everyday of the Baruch’s projects . Do you understand? I knew something was wrong, and I was able to dislodge myself from it, and become, well, successful in
that. I connected with a beautiful woman, and have a beautiful child, and I make a little bit of a living.
We have to teach people make those connections with other human beings, and we have to teach them to truly listen. We have to provide an architecture that allows peo-
ple to lift themselves from darkness and mundanity. That’s our jobs. I leave you with… I’m just imploring you: Keep me human. Keep me human with your work. Keep one
another human.”
ARTICULO: The perfect transmedia producer