2009 SXSW Interactive Panel Picker

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As of September 2, Panel Picker voting is closed. You can, however, still leave comments on the proposals you find interesting. We will announce the first set of accepted panels on Thursday, October 2. Stay tuned to the SXSW Interactive Festival website for these announcements, or e-mail us if you have questions.

1-25 of 25

1 2 3 4 5	Duncan Kennedy, Mobigardens	Mobile Filmmaking 101	The mobile phone is the new venue for short films. Recently embraced by filmmakers including Robert Redford, the made for mobile film is creating a renaissance for the short film. The Mobile Filmmaking panel brings together the key players in this emerging industry including mobile filmmakers, distributors and tools providers.	Digital Filmmaking	P	I
1 2 3 4 5	Ben Cote, CôtéZero	Telling New Stories With New Technology	How has the methods and types of stories being told changed with the advent of digital? From the podcast, to the ARG, to the screen-capture voice-over, what new ways of telling stories are emerging with the advent of digital?	Digital Filmmaking	P	B
1 2 3 4 5	James Milward, Secret Location inc.	Interactive Films: The Future of Visual Storytelling is Interactive -- Or Is It?	There is no question that the way people consume content has fundamentally changed over the last several years. Whether online, on mobile phones, DVD or in physical spaces, the way we tell stories is also changing. What is the future of telling visual stories, with the reality of shorter attention spans, clickable culture and evolving technology that enables new ways to display and interact with cinematic content and narrative. This panel will explore the opportunities, challenges, technical and usability issues and whether any one actually cares about interactive films.	Digital Filmmaking	P	A
1 2 3 4 5	Bladimiar Norman, Paramount Vantage Films	Using PR to promote your independent movie	Although the approach to publicity has evolved, editors are still hungry for “the story”. Every film offers an abundance of stories for editors and journalists to write about. I will use an independent film as an example to show the audience how a film can be broken down in an effort to pitch journalists.	Digital Filmmaking	P	A
1 2 3 4 5	Don Downie, Small Media Extra Large	The Muse in the Machine: Techie Auteurs	Old paradigm: Director has vision, finds money, hires may highly specialized technicians to help him achieve it. New paradigm: Director has vision, owns a camera, edits on computer, and is darn good at special effects, too. Do creatives who embrace their inner techie create more inspired films? Or are we watering down filmmaking until it becomes amateur hour?	Digital Filmmaking	T	I
1 2 3 4 5	Tim Shey, Next New Networks	Soapbox Spielbergs: Making Hollywood FX on Indie Budgets	Web video series like GALACTICAST and INDY MOGUL are getting closer and closer to achieving Hollywood-quality special effects on zero budgets. Find out how some of these creators achieve amazing looking HD effects, from lightsabers to exploding heads, on budgets under $50, and try to stump them with an effect they can’t do.	Digital Filmmaking	T	I
1 2 3 4 5	Don Downie, Small Media Extra Large	"Hey - You Got Your p2 In My Redcode!"	With a plethora of new HD production formats available, how does a director or producer decide which one to shoot in? This panel will debate the benefits of IT-based HD production workflows, including RedOne's Redcode, Panasonic's p2 - in DVCPRO and AVC-Intra flavors; Sony's XDCAM EX, and options for capturing HD video directly to computer over digital connections.	Digital Filmmaking	T	A
1 2 3 4 5	Stacie Capone, Small Media Extra Large	Has Online Video Killed the Hollywood Star?	Are there differences in acting and directing for the internet vs. film? Or do the same rules apply? Do directors and actors use the same techniques for both mediums or do they each have their own special approaches? This panel will explore those ideas and industry players' feelings about it.	Digital Filmmaking	T	B
1 2 3 4 5	Michael Verdi, Millions of Us	Machinima Kung Fu	Sure machinima looks easy - record a game, drop it into iMovie and do some voices - but there’s actually a little more to it than that. This session will cover all the tech of making machinima - from hardware and software to in-game strategies to post production issues.	Digital Filmmaking	T	A
1 2 3 4 5	Karina Longworth, Spout.com	Beyond Dramatic Chipmunk: Web Video Criticism	Maybe your work friends and your mom have just recently discovered Vimeo, but web video is beginning to mature, as an increasing number of professional artists and filmmakers turn to free sharing platforms to experiment with new forms, cultivate an audience for more traditional work, or even make a living. As new ventures blossom to curate and monetize this work, editorial ventures are racing to critique it. What is web video criticism, how can it help/hurt video makers, and as a video consumer, why should I care?	Digital Filmmaking	T	A
1 2 3 4 5	Aaron Syrett, North Carolina Film Office	Film Incentives for Independent Filmmakers	Film Incentive experts giving independent producers secrets on how to easily access state film incentives.	Digital Filmmaking	T	A
1 2 3 4 5	David Dunkley Gyimah, University of Westminster	IM Video Journalism	With video online all the rage, UK-based international award winning video journalist David Dunkley Gyimah deconstructs video journalism and posits his cinematic brand known as IMVJ. Described by Apple Pro as a one man hurricane http://www.apple.com/uk/pro/profiles/gyimah/ Ex BBC David talks technique, workflow, and swift turnaround factual feature making.	Digital Filmmaking	T	A
1 2 3 4 5	Meghan Scibona, Small Media Extra Large	Location, Location, Location	As the US starts to catch up to Asia and Europe it will rely more on mobile devices. This panel explores how content should be different for a screen that knows where it is and can be carried in your pocket. During SXSW, a group of filmmakers will create a narrative experiment using location tagged video content, and will explore what happens geography links story, rather than time.	Digital Filmmaking	P	B
1 2 3 4 5	Tanguy Leborgne, Pinnacle Systems	Changing the Face of What, Where, When We Watch	Teen, tween, Gen X, Gen Y, Boomer creators/consumers are the serious early adopters who are changing the way we think about entertainment. These individuals are intent on capturing, saving, editing, authoring, archiving, distributing and hopefully being paid for their video efforts. The speaker will discuss the depth and breadth of this new market segment, their wants/needs and how their interests, opinions and goals will open new and exciting opportunities for hardware, software and service providers.	Digital Filmmaking	P	I
1 2 3 4 5	Bladimiar Norman, Paramount Vantage Films	Social Media for Independent movies	Creating a space for your film, at low cost, with rich, shareable, and interactive content can develop the brand to an extent whereas the releasing company can tap into and provide richness. Thus, making your product’s audience more accessible and increases the interest from purchasing studios.	Digital Filmmaking	P	A
1 2 3 4 5	Meghan Scibona, Small Media Extra Large	No Budget to Low Budget	You posted to YouTube, 10,000 views on Vimeo, and you're blowing up on blip.tv. What happens when a guerilla filmmaker gets a small budget for a project? What are the most important things to spend that extra money on?	Digital Filmmaking	T	I
1 2 3 4 5	Jim Skinner, Green Screen Cinema	How To Get Fat Money From YouTube	CBS, Revision3, Smosh and Renetto all have an "economic and commercial" relationship with YouTube. They're getting paid. This track will look at how you too can get paid for your YouTube video. Will look at search ranking (inside YouTube and at the search sites), backlinking, advertising, production workflow (HDV focused).	Digital Filmmaking	T	I
1 2 3 4 5	Kim Grinfeder, University of Miami	Online Storytelling: Beyond the Slideshow and the Tiny Videos.	It's time to move beyond the photo-slideshow and tiny video! How can we elevate the online storytelling experience so we can tell complex stories without loosing the viewers interest or compromising quality.	Digital Filmmaking	T	I
1 2 3 4 5	Jannat Gargi, Alpha Cine Labs	Now in Theaters! Getting Ready for Theatrical Release	Everything you always wanted to know about preparing your digital film for theatrical release via a digital to 35mm transfer and/or digital files. Discussion will include our process from A-Z, HD color correction, conversion and cadence removal, budget, tips and tricks of certain cameras.	Digital Filmmaking	T	B
1 2 3 4 5	Paul Hertzberg, CineTel Films	Are Indie Films Are Taking Over The Industry?	With over 165 films and 28 years of experience in the film industry, Paul Hertzberg will discuss the current state of the indie film business and the bright future that it holds as the major studios aren't as big as they used to be.	Digital Filmmaking	P	I
1 2 3 4 5	Carl Eyster, Self Employed Media Specialist and Project Manager	Changes in Television Then; Changes in Web Video Now	The advent of cable TV dramatically changed what was shown on TV and how it was shown. With video now the norm on the internet, what's next?	Digital Filmmaking	P	B
1 2 3 4 5	Jim Skinner, Green Screen Cinema	HDV 24p Workflow	Get a hands-on walk-through of an HDV 24p content creation workflow. The entire process, from lighting to shooting to color correction to editing will take place during the session. See firsthand the challenges of working with 1440x1080 material. Witness the horror of 2:3:3:2 pulldown and the joy of removing it.	Digital Filmmaking	T	A
1 2 3 4 5	Dan Shefelman, Dan Shefelman Studio	Story is God	...or is Character the Almighty? Or is really cool Special Effects The All Knowing One? A panel of writers, directors and animators experienced in various media digital and otherwise will debate these age old questions of the Origins of Creation.	Digital Filmmaking	P	A
1 2 3 4 5	Kent Nichols, AskANinja.com	Online to Big Screen: Filmmakers Reflect	Hollywood is sending online video directors to the big leagues of feature films. Find out how these online pioneers made the leap, how the mediums differ, and how you can turn internet success into a dream come true.	Digital Filmmaking	P	I
1 2 3 4 5	Neil Perry, XLNTads	How to Make a Brand Friendly Video	50 percent or more brand-sponsored advertising and content competition entries are thrown out. Even if the creator uses all assets provided and follows the creative brief, there are unspoken rules/requirements brands take into account. Semi-professional videographers/content creators outline tricks of the trade and discuss how to monetize consumer-generated advertising.	Digital Filmmaking	T	I

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Amazing - This justifies my trip to SXSW.

T: = Technical panel
P: = Philosophical panel
B: = Beginner level
I: = Intermediate level
A: = Advanced level

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