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<description>Power to the Pixel supports the film and media industries in their transition to a digital age. The company specialises in new ways for content creators and businesses to create, finance and distribute stories and engage with audiences across multiple platforms. Headed by Founder &amp; CEO Liz Rosenthal and COO &amp; Producer Tishna Molla, the company&#8217;s London team has a wealth of experience and expertise across film and cross-media development, production and finance, and is linked to a unique network of the leading thinkers, practitioners and innovators who are developing new business and creative opportunities around the world. Specialising in new ways for content creators and businesses to create and finance stories and engage with audiences across multiple platforms, Power to the Pixel&#8217;s core activities are: Providing consultancy to international media organisations, content creators and companies Designing innovative in-house company training programmes and bespoke initiatives Producing international forums, events and labs centred around cross-media, IP and business Facilitating the exchange of ideas and the building of international partnerships between media professionals and between industries The company&#8217;s understanding of the challenges and opportunities of digital change means Power to the Pixel is an essential bridge between the visionary, the pioneering and the practical. Power to the Pixel&#8217;s clients and partners include: ARTE; BAFTA; BBC, BBH; Berlin Film Festival; BFI; Cannes Film Festival (March&#233; du Film); EAVE; EU MEDIA Programme; Edinburgh Film Festival; IFP; Nordisk Film &amp; TV Fond; UK Film Council.</description>
<itunes:summary>Power to the Pixel: The Digital Distribution Forum for Independents  took place during the London Film Festival October 2007. It brought together leading filmmakers and innovators who are transforming the way that films are reaching audiences</itunes:summary>


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<br />

Pixel Pitch 2009

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Pixel Pitch 2009

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Pixel Pitch 2009

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Pixel Pitch 2009

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LIZ ROSENTHAL, Director, Power to the Pixel

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TED HOPE, Award-winning Producer, This is that corporation TAKE BACK WHAT HAS ALWAYS BEEN YOURS - OWNING THE FIVE PILLARS OF STORYTELLINGThe first 100 years of cinema were defined by the limits and gates imposed on artists by the commercial apparatus. We can now expand both our creative endeavours and our narratives beyond just content and the production process and embrace discovery, promotion and presentation. Audiences&apos; conflicting desires to be directed to, and to participate with, couldn&apos;t be satisfied as the business made it a one way exchange. Now the walls are collapsing but artists had better leap in quick if they don&apos;t want to surrender the turf.

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CHRISTY DENA, Director, Universe Creation 101 Despite the fact that cross-media is still emerging, there have been a number of experiments, successes and failures over the past few years. In this talk, Christy Dena shares some lessons learned from cross-media projects in film, television, gaming and marketing in a way that will help guide your project. While there is so much yet to explore, and the area will certainly continue to evolve, you can lean on the ground-breaking efforts of those who have ventured before you.

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SCILLA ANDREEN, Founder &amp; CEO, IndieFlix As audiences discover and engage with films across a rapidly expanding array of platforms and devices, release strategies for independent film are evolving. Looking at a variety of innovative case studies, Scilla will demonstrate a variety of models and lessons learned from making films available across multiple platforms, &apos;sites and devices to simultaneous release strategies, special events and digital word-of-mouth campaigns.

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BRIAN NEWMAN, Consultant and Former President, Tribeca Film Institute The Internet is a super-distribution machine that allows copies of digital media to flow in an almost frictionless way. As the wealth and survival of traditional media businesses are built on selling precious copies, the free flow of free copies is undermining the established order. If reproductions of media are free, how can we keep on financing films and how can we find value in the media we create and sell?

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FRANNY ARMSTRONG, Filmmaker LIZZIE GILLETT, Producer The Age of Stupid team reveal how they created a global phenomenon around their film and campaign about climate change. With a mission to engage with 250 million viewers and no marketing budget, the team set out to use an array of digital tools to fund their film and spread the word. Hear the latest from their September release beamed to over 45 countries and 600 screens and their revolutionary new distribution tool, Indie Screenings.

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  <blip:puredescription><![CDATA[NINA PALEY, Filmmaker If it&apos;s free, how do you make money? Seven months after the Copyleft release of her animated musical feature Sita Sings the Blues, Nina Paley presents the second round of hard data from the project. The more the audience freely shares the film, the more they purchase DVDs, theatre admissions and merchandise. See the numbers that prove it.]]></blip:puredescription>
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NINA PALEY, Filmmaker If it&apos;s free, how do you make money? Seven months after the Copyleft release of her animated musical feature Sita Sings the Blues, Nina Paley presents the second round of hard data from the project. The more the audience freely shares the film, the more they purchase DVDs, theatre admissions and merchandise. See the numbers that prove it.

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HUNTER WEEKS, Filmmaker Hunter Weeks, director and producer of three American independent feature films, 10 Mph, 10 Yards and Ride the Divide, presents an overview of how he has incorporated significant American brands and partners into all aspects of making films - from pre-production to distribution. He?ll also explore how brands and partners can give a significant boost to your digital and cross-media objectives utilising their platforms, channels and huge built-in audiences.

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<br />

MARTIN ELRICSSON, Producer &amp; Creative Director, The company P What kind of experience does today&apos;s film audience want and what can be done with existing technologies? Interactive tools, emails, text and voicemail, mobile apps and geo-locational services can connect an audience to characters. Live events and alternate reality games can bring the audience into the world of a film and extend the storytelling experience. The more filmmakers can extend their vision into the world of the audience, the more rooted the audience becomes in the experience of the film. But how do you know how much to give them? Mystery will bring people into your world, but for your cross-media audience, there is an implicit promise of a clear correlation between how much that audience gives - of their time, of their own interactions and emails and phone calls, their trips to places where they are promised live experiences - and how much they get back. You must dazzle them with innovate storytelling techniques but you also need to reward them with meaningful emotional content and layers of reveal. Leading story architects of some of the world&apos;s most successful extended story experiences - The Dark Knight, The Truth About Marika and Xi - demonstrate how to bring a fictional world into the lives of the audience

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<br />

STEVE PETERS, Experience Designer &amp; Partner, No Mimes Media What kind of experience does today&apos;s film audience want and what can be done with existing technologies? Interactive tools, emails, text and voicemail, mobile apps and geo-locational services can connect an audience to characters. Live events and alternate reality games can bring the audience into the world of a film and extend the storytelling experience. The more filmmakers can extend their vision into the world of the audience, the more rooted the audience becomes in the experience of the film. But how do you know how much to give them? Mystery will bring people into your world, but for your cross-media audience, there is an implicit promise of a clear correlation between how much that audience gives - of their time, of their own interactions and emails and phone calls, their trips to places where they are promised live experiences - and how much they get back. You must dazzle them with innovate storytelling techniques but you also need to reward them with meaningful emotional content and layers of reveal. Leading story architects of some of the world?s most successful extended story experiences - The Dark Knight, The Truth About Marika and Xi - demonstrate how to bring a fictional world into the lives of the audience

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DAVID VARELA, Producer, nDreams What kind of experience does today&apos;s film audience want and what can be done with existing technologies? Interactive tools, emails, text and voicemail, mobile apps and geo-locational services can connect an audience to characters. Live events and alternate reality games can bring the audience into the world of a film and extend the storytelling experience. The more filmmakers can extend their vision into the world of the audience, the more rooted the audience becomes in the experience of the film. But how do you know how much to give them? Mystery will bring people into your world, but for your cross-media audience, there is an implicit promise of a clear correlation between how much that audience gives - of their time, of their own interactions and emails and phone calls, their trips to places where they are promised live experiences - and how much they get back. You must dazzle them with innovate storytelling techniques but you also need to reward them with meaningful emotional content and layers of reveal. Leading story architects of some of the world?s most successful extended story experiences - The Dark Knight, The Truth About Marika and Xi - demonstrate how to bring a fictional world into the lives of the audience.

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Moderator: CHRISTY DENA, Director, Universe Creation 101MARTIN ELRICSSON, Producer &amp; Creative Director, The company P STEVE PETERS, Experience Designer &amp; Partner, No Mimes Media DAVID VARELA, Producer, nDreams Roundtable discussion. What kind of experience does today&apos;s film audience want and what can be done with existing technologies? Interactive tools, emails, text and voicemail, mobile apps and geo-locational services can connect an audience to characters. Live events and alternate reality games can bring the audience into the world of a film and extend the storytelling experience. The more filmmakers can extend their vision into the world of the audience, the more rooted the audience becomes in the experience of the film. But how do you know how much to give them? Mystery will bring people into your world, but for your cross-media audience, there is an implicit promise of a clear correlation between how much that audience gives - of their time, of their own interactions and emails and phone calls, their trips to places where they are promised live experiences - and how much they get back. You must dazzle them with innovate storytelling techniques but you also need to reward them with meaningful emotional content and layers of reveal. Leading story architects of some of the world&apos;s most successful extended story experiences - The Dark Knight, The Truth About Marika and Xi - demonstrate how to bring a fictional world into the lives of the audience

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<br />

BEN GRASS, Managing Director, Pure Grass Films Is cross-media storytelling the future of the film business? Extending stories across multiple platforms not only helps build an engaged fan base but also extends the potential of new revenue generating possibilities. As traditional financing dries up, how can producers leverage new types of cross-media partners to expand the value of their properties? Leading cross-media producer and digital innovator Ben Grass explains how, with up-to-the-minute case studies of brand new projects.

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PETER COWLEY, Managing Director of Digital Media, Endemol UK Is cross-media storytelling the future of the film business? Extending stories across multiple platforms not only helps build an engaged fan base but also extends the potential of new revenue generating possibilities. As traditional financing dries up, how can producers leverage new types of cross-media partners to expand the value of their properties? Leading cross-media producer Peter Cowley explains how, with up-to-the-minute case studies of brand new projects.

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An opportunity for the audience to ask questions to the speakers. Moderator: LIZ ROSENTHAL, Director, Power to the Pixel PETER COWLEY, Managing Director of Digital Media, Endemol UK BEN GRASS, Managing Director, Pure Grass Films TED HOPE, Award-winning Producer, This is that corporation KAROL MARTESKO-FENSTER, General Manager &amp; Publisher, Film Division Babelgum LANCE WEILER, Filmmaker, Story Architect and Digital Innovator

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  <blip:puredescription><![CDATA[Moderated by Liz Rosenthalwith Lance Weiler, Award-winning Filmmaker and Digital Innovator (US) Ben Grass, Managing Director, Pure Grass Films (UK) As the methods of film delivery transform, creators and producers need to develop new ways of storytelling, extend the opportunities to engage with audiences and build new partnerships with the new financiers, promoters and distributors of digital media. Extending stories across different media will lead to new audiences, new financing partners and will ultimately add new value to intellectual property. Two leading creators of cross-media film projects will demonstrate how they are finding news ways to engage with audiences, create new forms of film storytelling and develop new business models for their companies.]]></blip:puredescription>
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Director Jamie King describes how he used peer-to-peer networks to generate a huge audience for film series Steal This Film that documented the movement against intellectual property. The films were released via Pirate Bay for free asking for donations from viewers, and have been viewed approximately 6 million times. Jamie will also talk about his new distribution network VODO, which will create a frictionless way to distribute media of all kinds, helping creators to be remunerated when they&#8217;re distributing works online and gain the kind of attention for their works that can rival anything the mass media can offer.

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Ben Grass demonstrates how he is finding news ways to engage with audiences, create new forms of film storytelling and develop new business models for his company. As Managing Director of Pure Grass Films, Ben produced Beyond the Rave (MySpace&#8217;s first series outside the US) and Exec Produced Kirill (MSN&#8217;s first online series outside the US, which won a Webby for Best Drama Episode, 2009). He was formerly responsible for Sony Pictures Digital in Europe and prior to that was Senior Advisor, Corporate Strategy at the BBC.

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Presentation by Christy Dena at Power to the Pixel&apos;s 2008 London Forum Why should we think about more than one media platform? Could we gain financially and artistically? Would we progress our practice and industry if we do?

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  <blip:puredescription><![CDATA[Presentation by Brian Newman at Power to the Pixel&apos;s 2008 London Forum.With the rapid growth of new on-demand, online services and film and video social networking sites, who amongst them are effectively serving independent films and rights holders in significant new ways? Brian Newman speaks about the Tribeca Film Institute&apos;s Reframe project.]]></blip:puredescription>
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Presentation by Brian Newman at Power to the Pixel&apos;s 2008 London Forum.With the rapid growth of new on-demand, online services and film and video social networking sites, who amongst them are effectively serving independent films and rights holders in significant new ways? Brian Newman speaks about the Tribeca Film Institute&apos;s Reframe project.

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Presentation by Cay Wesnigk, Onlinefilm.org at Power to the Pixel&apos;s 2008 London Forum.With the rapid growth of new on-demand, online services and film and video social networking sites, who amongst them are effectively serving independent films and rights holders in significant new ways? Cay Wesnigk speaks about the opportunities onlinefilm.org offers independents.

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Presentation by Sara Pollack, YouTube during Power to the Pixel&apos;s 2008 London Forum With the rapid growth of new on-demand, online services and film and video social networking sites, who amongst them are effectively serving independent films and rights holders in significant new ways? Hear Sara Pollack, YouTube&apos;s Manager of Film and Animation, speak about how YouTube is helping independent filmmakers distribute their work.

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<br />

Presentation by Fabio Lima, MovieMobz during Power to the Pixel&apos;s 2008 London Forum With the rapid growth of new on-demand, online services and film and video social networking sites, who amongst them are effectively serving independent films and rights holders in significant new ways? Fabio Lima discusses MovieMobz, Brazil&apos;s unique cinema-on-demand service.

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<br />

Presales, MGs and advances are becoming a thing of the past for independent films. Who will the new financiers of independent films be? This session looks at the power of the audience in crowd-sourcing, the power of brands and of sponsors in financing new work. SLAVA RUBIN, Co-Founder, IndieGoGo (US) ADAM ERLEBACHER, Co-Founder, PlaceVine (US)

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<br />

Presentation by Adam Erlebacher at Power to the Pixel&apos;s 2008 Forum.Presales, MGs and advances are becoming a thing of the past for independent films. Who will the new financiers of independent films be? This session looks at the power of the audience in crowd-sourcing, the power of brands and of sponsors in financing new work.

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Presentation by Timo Vuorensola at Power to the Pixel&apos;s 2008 London Forum.Timo Vuorensola explains how he and his team fully embraced the concept of crowd-sourcing. Star Wreck: In the Pirkinning was a huge collaborative effort made by a core group of 5 people in Finland, and a community of about 3,000 volunteers from around the world. The film was a major online hit and has been downloaded over 8 million times.

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Presentation by Jamie King at Power to the Pxiel&apos;s 2008 London Director Jamie King describes how he built a huge audience for his film by giving it away for free. Steal This Film is a film series documenting the movement against the concept of intellectual property and certainly practices what it preaches, being released via BitTorrent peer-to-peer protocol through sites such as Pirate Bay, asking for donations from viewers. The series has been viewed approximately 5 million times.

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<br />

Presentation by Lance Weiler at Power to the Pixel&apos;s 2008 London ForumFor years, the independent film industry has created an unspoken competitive spirit among filmmakers. Competition for festival slots and buyers&#8217; attention has left many filmmakers bitter at the success of others. As the traditional deals fade away, filmmakers now find themselves at a crossroads as new collaborative models emerge. The production side of filmmaking has been democratised, now it is time to open the discovery and distribution processes. A step in that direction is From Here to Awesome. FHTA is an R&amp;D lab of sorts, an open source project that is focused on experimenting with new business models, creating open tools and standards and making recommendations for best practices.

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  <blip:puredescription><![CDATA[Presentation by Arin Crumley at Power to the Pixel&apos;s 2008 London Forum.This session gives an overview of modern filmmaking for the independent. How can technology enhance the creative process? What are the new ways to create collaborative films? What does it mean to be a director immersed in a reality where everyone has a camera and is their own director? What is the potential for two-way filmmaking conversations between creators and audiences? How does this new media landscape affect the timing of how content is ideally released, democratic availability to all and sustainability for the creative teams that play a role in making these new films?]]></blip:puredescription>
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<br />

Presentation by Arin Crumley at Power to the Pixel&apos;s 2008 London Forum.This session gives an overview of modern filmmaking for the independent. How can technology enhance the creative process? What are the new ways to create collaborative films? What does it mean to be a director immersed in a reality where everyone has a camera and is their own director? What is the potential for two-way filmmaking conversations between creators and audiences? How does this new media landscape affect the timing of how content is ideally released, democratic availability to all and sustainability for the creative teams that play a role in making these new films?

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The audience asks questions to M dot Strange, Timo Vuorensola, Jamie King, Lance Weiler &amp; Arin Crumley.

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YOMI AYENI &amp; CARMEL LANDY, Co-Founders, Expanding UniverseLeading next-generation media company, Expanding Universe, give a presentation on cross-platform storytelling. They explain how they are working with brands to develop interactive and immersive stories/experiences that integrate the brand&#8217;s message at the same time as entertaining audiences.

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  <blip:puredescription><![CDATA[Workshop by Arin Crumley at Power to the Pixel&apos;s 2008 London Forum.Learn from DIY filmmaker and distribution pioneer Arin Crumley. His first feature Four Eyed Monsters became a massive online hit due to the skilful way that he and co-director, Susan Buice, cultivated a huge and actively engaged fanbase by experimenting with a large variety of online services, tools and social networks. This session gives an opportunity to learn about tools and services to engage your audience and hear about lessons Arin learnt along the way.]]></blip:puredescription>
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<br />

Workshop by Arin Crumley at Power to the Pixel&apos;s 2008 London Forum.Learn from DIY filmmaker and distribution pioneer Arin Crumley. His first feature Four Eyed Monsters became a massive online hit due to the skilful way that he and co-director, Susan Buice, cultivated a huge and actively engaged fanbase by experimenting with a large variety of online services, tools and social networks. This session gives an opportunity to learn about tools and services to engage your audience and hear about lessons Arin learnt along the way.

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  <blip:puredescription><![CDATA[BEN GRASS, Producer and Digital Media PioneerThis workshop will explore Beyond the Rave, the twenty part online horror series created and produced by Pure Grass Films in 2008. Beyond the Rave was financed by Hammer Films (their first production in over thirty years) and distributed by MySpace (their first original web series outside the US).]]></blip:puredescription>
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BEN GRASS, Producer and Digital Media PioneerThis workshop will explore Beyond the Rave, the twenty part online horror series created and produced by Pure Grass Films in 2008. Beyond the Rave was financed by Hammer Films (their first production in over thirty years) and distributed by MySpace (their first original web series outside the US).

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  <blip:puredescription><![CDATA[SLAVA RUBIN, Co-founder IndieGoGoAs today&#8217;s global financial markets struggle, the U.S. presidential candidates are raising over $1,000,000 a day online in sub $1,000 contributions from individuals. In other industries, companies like Prosper, Kiva and Sellaband are eliminating the middlemen and democratising fundraising as well. The secret is crowdfunding and fan participation. Through a direct connection (i.e. social networks, email, distribution outlets, blogs, house parties, twitter, chat) and a call to action, each case study is converting niche audiences into their fundraising and promotional base.&#8220;Show Me The Money&#8221; discusses the trends, the tools and the companies pioneering DIWO (Do-It-With-Others) Funding and Filmmaking. As social networking approaches mainstream, online fundraising accelerates, the cost of production falls, and the growth of &#8220;pulled&#8221; media outpaces that of &#8220;pushed&#8221; media. It&#8217;s never been a better time for independent artists to build their audiences and raise money online.]]></blip:puredescription>
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SLAVA RUBIN, Co-founder IndieGoGoAs today&#8217;s global financial markets struggle, the U.S. presidential candidates are raising over $1,000,000 a day online in sub $1,000 contributions from individuals. In other industries, companies like Prosper, Kiva and Sellaband are eliminating the middlemen and democratising fundraising as well. The secret is crowdfunding and fan participation. Through a direct connection (i.e. social networks, email, distribution outlets, blogs, house parties, twitter, chat) and a call to action, each case study is converting niche audiences into their fundraising and promotional base.&#8220;Show Me The Money&#8221; discusses the trends, the tools and the companies pioneering DIWO (Do-It-With-Others) Funding and Filmmaking. As social networking approaches mainstream, online fundraising accelerates, the cost of production falls, and the growth of &#8220;pulled&#8221; media outpaces that of &#8220;pushed&#8221; media. It&#8217;s never been a better time for independent artists to build their audiences and raise money online.

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