In these clips Gary Carter talks about his company in the changing landscape of digital storytelling.  He is a real visionary about media and is speaking at the nextMEDIA conference in Banff, where the world’s leading edge content creators, aggregators, broadcasters, agencies, advertisers, and solution-providers meet annually to discuss the business of the business.

PART ONE

Fremantle Media. The company’s history mirrors the history of screen-based media itself. Gary Carter tells the story of Fremantle from its earliest days to the present age of format wars and reality television.

PART TWO

Gary Carter talks about the run-up to the digital revolution from an age of distribution, talent and technology scarcity to our now ubiquitous ability to produce content and distribute it freely over the internet.

PART THREE

Gary Carter discusses the repercussions of the digital revolution for an old-media company like Fremantle, bound to the traditional models of content production, distribution and strorytelling.

PART FOUR

Gary Carter talks about the collapse of the advertising economy and its impact on screen-based content production. According to Carter, it’s a crisis of platform which is being solved by the millions of individuals with access to cheap digital recording technology and zero-cost distribution channels.

PART FIVE

Q & A:  Gary Carter talks about broadcasters’ unhealthy addiction to the advertising model, and what lies ahead for traditional television.

I will be there and hope to see some of you too!

.WHAT: AFI DigiFest 2009

WHEN: Wednesday, November 4th & Thursday, November 5th

WHERE: Mann Chinese Theater, Hollywood CA

COST: Free of Charge. You must register.

REGISTER: http://www.afi.com/education/dcl/

DAY ONE – November 4

10 am – 5 pm

DAY ONE of AFI DigiFest showcases cutting-edge digital media prototypes incubated in the AFI Digital Content Lab during the previous year. For eleven years, the Lab has convened teams of industry experts who brainstorm solutions to cross-platform challenges. This year’s projects illustrate the ever-widening spectrum of development and distribution options open to today’s creators while optimizing for the consumers’ eagerness to view and interact with content across a variety of screens.

This year, featured projects include:

• a social network and proposed marketing plan for INTERVIEW PROJECT PRESENTED BY DAVIDLYNCH.COM;

• a proposed online strategy for engaging youth in a series of relevant environmental action challenges for the Leonardo DiCaprio Foundation;

• a mobile application that provide an interactive past-to-future timeline for an innovative ITVS cross-platform micro-series;

• an interactive mentoring environment for One Economy that encourages students from low-income families to learn more about science as a career;

• a MOBILE STORY MAKER session with longtime filmmaker L.M. Kit Carson, who shot the deeply moving micro-series AFRICA DIARY using a Nokia mobile phone as camera. The series will soon air on the Sundance Channel.

Cocktail party and poolside screening of select short films at the historic Roosevelt Hotel to follow.

DAY TWO – November 5

10 am – 5 pm

DAY TWO of AFI DigiFest offers a curated look at the most innovative digital media productions released during the past year. An eye-opening window onto the emerging digital media landscape, the productions highlighted during AFI DigiFest are consistently dynamic, aggressively cross-platform, and always inventive.

Among the invited presenters this year are:

• DISTRICT 9, a behind-the scenes look at games and an augmented reality application created by production house Trigger;

• LIVE MUSIC, a 3D animation pieced together from contributions by thousands of animators from around the world, masterminded by Mass Animation’s Yair Landau, former vice-chair of Sony Pictures;

• URBAN WOLF, a surveillance camera-based micro-series drama by Parisian director Laurent Touil Tartour;

• MANOBI, an innovative mobile phone application that has helped raise the standard of living for Senegalese farmers and fishermen;

• FIRST THINGS LAST, a dynamic and visual storytelling application for the iPhone created by ScrollMotion;

• ESCAPE FROM CITY 17, a stunning meld of machinima and live action created by the multi-talented Purchase Brothers for less than $500;

• NAKED SKY ENTERTAINMENT, a surprising look at what our collective augmented reality may well look like a year from now;

• MR. HULOT’S HOLIDAY, a restoration of Jacques Tati’s 1953 whimsical tale presented by Thomson/Technicolor;

• and more!

Cocktail party in celebration of Planet Illogica in the historic Roosevelt Hotel Ballroom (home to the first Academy Awards).

Register: http://www.afi.com/education/dcl/

The Gutenberg revolution continues. Google is now enabling authors and publishers who sign off under various Creative Commons licenses to distribute their works for free using the Google Books platform.

Creative collaboration, mash-ups, remixes and reuses is this a good or bad thing for writers?  You decide. Full article is below.

The Creative Commons organization has been busy this year launching programs like the Attribution-ShareAlike agreement with Wikipedia that enables interoperability between Wikipedia licenses. This new alliance allows independent writers, artists and publishers, both existing Google Partners and non-partners, to distribute, commercialize and protect the reuse of their works.

It’s a flexible license built for the digital age, with settings that authorize creative remixes and mash-ups that give credit where credit is due. Books that have been made available under a CC license have been marked with a matching logo on the book’s left hand navigation bar, allowing users to download the books and share them freely. “If the rightsholder has chosen to allow people to modify their work, readers can even create a mashup – say, translating the book into Esperanto, donning a black beret, and performing the whole thing to music on YouTube,” writes Xian Ke, Associate Product manager, Google Books in a blog post.

Google says representatives of the Book Rights Registry intend to allow rightsholders to distribute CC-licensed works for free, pending court approval of a settlement. In the meantime, Creative Commons proponents such as Lawrence Lessig have make their works available on Google Books using the CC licenses.”

Check out the videos on creative collaboration on Creative Commons and take a look at the Books Rights Registry on Google.