Videos from PttP Edinburgh Event Now Available Online

13.07 2009

Power to the Pixel has just released videos from Tales from the Digital Frontier, the series of cutting-edge presentations and panels it programmed for this year’s Edinburgh International Film Festival. So if you didn’t make it to Edinburgh this year, here’s your chance to find out what’s happening at the forefront of digital media. Read More

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MICHEL PETERS

13.07 2009

Michel Peters has over a decade of executive international experience in digital business and operations and an impressive track record of global successes. Prior to co-founding Content Republic Michel was Vice President, Digital Operations for Sony BMG’s Digital Business Group where he was responsible for the delivery of online and mobile audiovisual content to 185 partners globally (including Apple, Nokia, Vodafone, Microsoft). Prior to Sony BMG, Michel held various roles within the Sony organisation which included Vice President of European Digital Operations where he successfully set up the first digital operations division to implement a digital supply chain, and Head of eMedia for Sony Music Netherlands where he was responsible for digital business, digital music licensing and online development and presence. Michel holds a Master of Science in Communication from the University of Amsterdam.

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DAVID BAUSOLA

09.07 2009

With over 10 years of experience in managing complex software projects for brands such as PlayStation through to Channel 4 Television, David’s interest is in how entertainment and communication utilities work together to enable audiences to co-produce bespoke experiences. As such, the combination of technology, media law and art to produce invention which is commercial and socially beneficial, remains at the core of David’s service design work.

In 2007 David created an unique entertainment format for Ford Motor Company, titled, Where are the Joneses? – a social media sitcom where the audience influenced the daily production of a road trip to seek out 27 sperm donor siblings. Produced with the UK’s leading comedy production company, Baby Cow, Where are the Joneses? enabled a world leading brand to engage audiences with authenticity and generosity. It was the first and largest branded media production to be licensed under the Creative Commons commercial licence.

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SCILLA ANDREEN

09.07 2009

Founded in 2005 by award-winning filmmaker Scilla Andreen, IndieFlix is a Seattle-based multi-platform independent film distribution and discovery site founded on the principles of community, promotion, syndication and transparency. IndieFlix is dedicated to providing a forum for filmmakers and their audience to interact, and to building a community that translates artistic vision into commercial success. IndieFlix promises to maintain a fair and open market to empower filmmakers to be the engine of their achievement and audiences to be a vital part of a movie’s success. IndieFlix is committed to encourage public opinion and power of choice while reinvesting in the independence of film, the people that craft them, and the organisations that support them. We believe that every movie has an audience, every filmmaker has a story to tell and each story has the right to be shared. IndieFlix library stands at 1500 + film festival titles and growing.

IndieFlix, connecting people through movies.

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NICOLE YERSHON

09.07 2009

Nicole started her career in advertising twenty-three years ago at two of London’s most traditional and creative agencies.

In 2000, Nicole was given the brief by Ogilvy London’s Chairman to “bring Ogilvy into the 21st century”, taking them from analogue to digital by working with programmers and implementing Finance, Workflow and Digital Asset Management systems.

Over the last four years, Nicole has built up RedWorks Broadcast (previously Domain), Ogilvy London’s digital hub. RedWorks Broadcast covers all broadcast and video editing (on and off line) and includes digital broadcast global delivery.

2005 saw her focus shift to new media, exploring and exploiting 360 marketing elements on all evolving media platforms. Ogilvy now regularly produces non-traditional advertising: from long form content, flooding Second Life, live webcasting with Girls Aloud, streaming, podcasting and digital escalator panels to name but a few.

Nicole and her team have recently launched OgilvyOne’s Digital Innovations Lab to spot talent and bring innovative ideas to market for their Brands and also launched Unilever’s Innovation Lab at their Headquarters in London in March of this year.

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LIZZIE GILLETT

09.07 2009

Producer Lizzie Gillett came to London from New Zealand in 2001, where she had been working as a TV news reporter and programme maker. Lizzie planned to live the dream, directing Panorama for the BBC or similar, but somehow wound up working part-time for Franny Armstrong at Spanner Films instead, and by the end of 2004 Lizzie was on board the Stupid beast as Co-Producer of the feature film Age of Stupid.

Over the past four and a half years her roles as manager of the entire 100-strong production crew and constant companion to Franny throughout the filming trip to the four corners of the earth have given Lizzie a unique and intimate inside perspective on the Stupid story as it unfolded.

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HELEN GRACE

09.07 2009

Helen Grace runs a digital sales and distribution company called Left Films which currently represents 12 independent feature films and more than 200 short films for video-on-demand distribution and other sales. Helen is also a film producer and occasional director, and her particular interest is in working with films that are not achieving conventional forms of distribution – finding new audiences online for new films. Left has more than 30 online distribution partners internationally, offering video-on-demand download and streaming of low-budget British films. Most recently, Helen has run the PR and sales campaign for Colin – the critically-acclaimed British zombie movie made for just £ 45 ($ 70).

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Open Call for First Pixel Pitch Competition – Deadline 14 August

07.07 2009

Power to the Pixel is now accepting entries to The Pixel Pitch – an exciting new opportunity for cross-media film funding.  This groundbreaking pitching forum is looking for stories that can span film, TV, online, mobile and gaming.  Up to ten of the best UK and international projects will be selected to compete for the Babelgum Pixel Pitch Prize of £6,000. Read More

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HIM

03.07 2009

When a mysterious sleep virus begins to affect the adults in a small rural town, the youth find themselves cut off from civilisation and fighting for their lives. As the weeks turn into months, the youth are left wondering if it’s a freak accident or something more sinister.

HIM is a collision of film, gaming and interactive technology that continues Lance Weiler’s horror 2.0 series, placing the viewer literally in the shoes of the protagonist. “This is a new type of social entertainment experience that fuses storytelling and gaming in a way that enables audience members to become collaborators within the storyworld,” explains Weiler.

Building on the success of the first version of HIM which had over 2.5 million people viewing and playing along, Lance and his team at Seize The Media will build an immersive storyworld that can be deployed across multiple devices and platforms, creating a variety of marketable media assets: 4-6 minute episodes, 1 minute micro-narratives, online and mobile casual games, online and offline ARG (alternate reality game) elements, and a feature film in the process.

LANCE WEILER

Lance Weiler is a critically-acclaimed, award-winning writer/director. Recognised as a pioneer because of the way he makes and distributes his work – Wired magazine named him “one of 25 people helping to re-invent entertainment and change the face of Hollywood”.

Lance has successfully self distributed his films The Last Broadcast and Head Trauma to more than 20 countries whilst grossing over $5 million in the process. Lance is also a partner in Seize the Media, a social entertainment company that focuses on cross-media story architecture.

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Dark Fibre

03.07 2009

Dark Fibre is an info noir set in Bangalore that deliberately collides documentary and fiction. The film takes the real life of a cable wallah whose job – connecting and disconnecting, wiring and re-wiring all sorts of data networks – brings him in daily contact with many facets of this new information city. The film juxtaposes the dream of the city as India’s ’silicon valley’ alongside the everyday life of its underclass.


Dark Fibre brings actors face to face with documentary subjects and places, both in real and concocted situations. It combines scripted elements with captured realities to create a rich, unpredictable action.

The film will be distributed in segments available to P2P networks. Each will unfold part of the story but the final part will only be available by watching the whole film, a feature that will initially be available to pre-subscribers who have enjoyed the series, film festival goers and traditional distributors. By releasing in this way, Dark Fibre builds a buzz and raises money online before realising further commercial potential in partnership with distributors.

The film is currently in post-production.

JAMIE KING

In 2006/2007 Jamie produced and directed the Steal This Film series which examined the consequences of file sharing and digital distribution for creative production.

Shared online via networks such as The Pirate Bay, Steal The Film has been downloaded over 4 million times, making it one of the most downloaded documentary films in history.

The director made Republic of Soya, an investigation into patenting of life forms and food production through a case study in South America. The first part of the project, Monsanto vs. Argentina, was screened at the United Nations in September 2008. Continuing to explore how digital distribution networks change what we can create, King is now examining the possibility of film fictions designed with an initial and primary life in P2P and file sharing communities. Dark Fibre is the first work of this kind.

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