#50 Filmmaking Manifesto #5

I've come to the end of the series of podcasts about the Digital Manifesto that Mike Jones posted on his blog, Digital Basin. That was earlier this summer and I try my best to explain why it's taken me long to post 5 podcasts. Throughout the series I've been using his ideas in the Manifesto as a guage to determine how current the curriculum at my school, the CDIA is. It did very well - 9 out of 13. Here are the issues, numbered according to the Manifesto followed by the episode they were reviewed in. Passed 03 Compositing #35 04 Distribution w/o hierarchy #3705 Owning the entire filmmaking process #3706 Software agnosticisim #3708 Screen Studies integrated into Production #3909 Succeeding despite obstacles #3910 Promoting the story ahead of production values #3912 Collaborative Learning #4413 Teacher as Facilitator #44 Not Passed 01 Composing Space #3502 Virtual Camera #3507 Immersive Sound #3911 Personal Stories #44 These episodes were different from what I usually post, they involved big ideas and how they fit into the world of filmmaking. Keeping the idea threads connected from one episode to another, particularly when a lot of time passed between was difficult. Time to think and understand seems to be a constant problem for me. For all the effort, I enjoyed exploring ideas and that took me to unfamiliar territory Bear in mind, these aren't my ideas, I'm just having fun poking at them. I thought of a couple of things to add to the manifesto: Get Teachers and students to better interact  between related/linked fields, such as audio, 3D and fx, even web design. I don't think the fringes of our filmmaking experience should be familiar territory.Get more exposure to the supportive technology used for digital distribution. Collaborative learning tools, such as blogs and wikis have a lot of potential that I hope to explore for sharing ideas and information and for promoting my work. Towards the end of the episode I talk a little about how all this technology is pushing against the boundaries of a stifling culture of intellectual protectionism. If I sound a little harsh, it's only because I've only recently come to recognize how limiting it is to withhold access to resources that, if they were more available, would result in a great deal more creativity to the benefit of everyone. I'm sure once I get used to it I'll return to lamblike complacency.