Monday, April 17, 2006


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Torley Linden

Two things quickly come to mind when I see this:

1) I'm glad you're writing about this, Jamlet, 'cuz it seemed to be oddly underreported, like a "submarine story" earlier. I actually didn't know about it until the last issue of the Second Opinion came out.

2) I wonder if this robot would play well with Kenzington Fairlight's MiroBot. Heh heh heh.

Rapid prototyping... kewl.

Pathfinder Linden

This was just picked up by BoingBoing, so the "submarine" may finally be surfacing.


Jaycatt Nico

This is great! I'm especially looking forward to Narnia avatars. I wonder if these will be available for people to purchase, or just demonstrations of what is possible for Disney to review?

Fizik Baskerville

Hamlets edit on the 17th, a response:

I think the important thing here, is that this project is/was not a consumer focused project. It was developed and completed over 18 months ago. The definitive version is a lot longer and more indepth. It touches on a lot of aspects of how films are crossing the digital divide.

The new Creative process: Idea to Development to Creation to Marketing:

‘The new supply chain creative model we’re pioneering is unique, enabling the film making process to extend beyond just producing a film poster and trailer. Marvin was the catalyst for that work; we owe Second Life a great debt as a business-to-business solution. For the first time, we could envisage a character beyond costly post-production and model making.

Films live 80% of their lives in the marketing and communication. It’s vital that the marketing teams get to experience the film before a rough edit. Using new toolsets like Second Life, has enabled the film makers vision to be understood, accurately interrupted and inspire new ways for films to be experienced.

Film marketing and the film making process are becoming one. We’re
entering a new era in franchise filmmaking. A film director is now also
responsible for the brand. ’

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