Author Archive

How to make Mac Keynote presentations smaller? Top tip – Default to JPEG…

Matt Golding - February 21st, 2010

Is your Keynote programme being a big fat c*ck pain in the neck?

At Team Rubber most of us use Mac’s all day every day. Ever use the Shift + Apple + 4 screenshot function? We all do. Ever noticed how sometimes Keynote presentations suddenly inflate in size to make you think “Have I accidentally embedded the Beatles back catalog?”.

Well this seems to be one of those ridiculous quirks of macs. It seems to be because the screenshots on a mac create PNG files. And when you embed PNG files in Keynote they for some reason become huge. Upwards of 30Mb. Bit rude to e-mail.

So the solution is to make your mac take screenshots as JPEG’s. And its really easy.

1: Go to Application -> Utilities and open Terminal.

2: Copy and paste this line of code (minus the arrows) in and hit enter.

>> defaults write com.apple.screencapture type jpg

3: Restart your computer.

Voila – your computer takes screenshots as JPEGs and Keynote stops being such a pain = <10Mb presentations.

That has to be my geekiest blog post ever. I hope its useful. To balance the internet Karma here is a picture of Keith Richards.

Keith

Keith

iFeatures blogs launch

Matt Golding - February 16th, 2010

The iFeatures blogs (which we’re in the finals of) have launched over at the iFeatures website. Check out our team blog here and all the teams in the iFeatures final here.

Our project is called “The Bristol Job” and is a family heist movie about an 11 year old girl who discovers her parents are too poor to pay for her last school trip so decides to rob a bank with her two best friends.

C08FEEA7 45B7 45AB 802B E6EC7612688A iFeatures blogs launch

iFeatures Kick Off

Matt Golding - February 3rd, 2010

The last few weeks have been a little busy! I entered the iFeatures competition months back but wasn’t aware I was on the scheme until last week when I got a call asking me to meet a writer and producer who had got through to the final 12 without a director. I had had a project in the final 25, which didn’t get through, but the panel wanted me to meet these two (Nick Pitt and Carol Noble) to discuss whether I would be suitable for their project. After a hasty meeting and a weekend of phone discussion I was on board.

I’ve just returned from the kickoff of the iFeatures development process. Two days of intensive workshops in Bristol with much more experienced industry writers, directors, producers and distributors coming in to give feedback on our projects and advice on how to get them to the next stage. These workshops can be a bit gruelling. The teams in the final 12 all have hefty experience in the film world (albeit in very varied guises) and I think there was a general sense of apprehension at the start of the two days as everyone must have experience of similar “development” workshops that can either be tiringly spirit crushing or annoyingly useless.

We shouldn’t have worried. It was great. In fact a number commented that if this two days was all they got out of the project, having had some great advice and tips, that would probably make the effort worthwhile.

But there’s lots more work to do. So it was to the organisers and speakers (including Laurence Coriat, Asif Kapadia, Lawrence Gough, Peter Ettedgui, and David Shear from Revolver) credit that everyone was left feeling charged and energised, as we’ve all got a lot of work to do getting our projects in shape for another round of pitching in mid March.

3D comes of age…

Matt Golding - January 17th, 2010

I went to see Avatar for the second time on Friday night. The first time I saw it left me so awed I had to go and experience it again.

There are many people saying good things about the film at the moment, but for me, the thing that has impressed me most is the way the film has pioneered a sensible use of 3D, and seems to have finally overcome what I see as the cack handed use 3D has been put to over the last 10 years. And massive hat tip to Cameron for pulling off such a massive achievement. Both visually and technically, this film is such a leap forward that it’s quite likely only a person who bullies girls into filming in cold water for 5 hours would have the lack of regard for what everyone around him was telling him to pull it off.

Anyone who knows me and has entertained a film geek dialogue about 3D with me over the last 18 months will have heard me getting hugely frustrated at the way directors have been using this oddly retro-future technology. The idea that I want to have things thrown at my head when I go to see a film fills me with a kind of questioning concern for exactly what kind of human understanding I share with these directors (not to mention the idea that having things thrown at my head is in any way “more immersive”, given it normally makes me check that I am in fact safe, sitting in a cinema, and not in fact experiencing a story first hand). This is before I get on to the way directors seem to think that giving me the full range of depth of field available to their grubby mits is going to please me. Personally I’ve been a huge admirer of the fairly basic directorial technique of guiding audience attention using focus ever since I first experienced a movie, because it feels so natural and so similar to the way I experience the world when using my own eyes. When given a 3D image in which every plane is in focus, so I can let my eye wander from foreground to background without any real concern that I might find any of it a little blurry, I find myself checking out details that are in no way pivotal to the story and missing important bits. I feel like I’m watching bad theatre where the set designers deserve as much credit as the writer or director, and end up getting a bit bored.

But this was before I saw Avatar. The most impressive thing about the film is the level of understanding it shows for how people experience stories, emotionally and visually. This is all the more impressive given everyone else, even directors I have admired for years, has been getting it so un-utterably wrong.

3A7811D4 1034 4BB3 8F19 CA1B53A794B0 3D comes of age...

Cameron doing some 3D with some cheap camera he found

Cameron essentially uses the 3D tool he spent so long researching (and oftentimes developing technology for himself) so subtly. Once the film has been running for a couple of minutes you practically forget its in 3D. He shoots with limited depth of field in the same way filmmakers always have. He tones the effect down when he needs you to be noticing characters and performance more, and only opens it up to its full extent in scenes where he really can get away with it without knocking you out of the “world” he’s created.

It IS more immersive. Its hard to say how this additional perception of depth would affect a drama film for example (and Cameron himself seems keen to experiment and find out). And ultimately the effect is negligible in comparison to factors such as story, performance, shooting style etc. This really isn’t a way to rescue cinema, merely a way to make good cinema that bit more visceral to prompt viewers to bother making the trip outside their house to watch films.

To top my awe at his achievements off, I noticed his name in the credits as camera operator, and was searching yesterday for more info on this when I found an article outlining his approach to much of what I’ve mentioned above. Why other filmmakers have ignore his hugely rational and clear headed assessment of a technology that has kind of been pinned to his flagpole, I don’t really know, but I hope more will start taking notice now the film is out for all to see.

Dangerous Snow Monster on loose…

Matt Golding - January 7th, 2010

It seems there is a terrible threat on the rampage round Bristol. Our Snowzilla has been destroyed, and only the most formidable snow creature would be able to win a battle with something as “Roar-wsome” as Snowzilla, so this is a hysterical public service announcement to be on your guard…We feel it most likely it is a snow King Kong or a snow Pterodactyl that could have surprised the Snowzilla from above…



Snowzilla Slain...

Snowzilla Slain...

Snowzilla!

Matt Golding - January 6th, 2010

Only the hard core made it through the snow to our Bristol office today, so we dashed out and made this…4250380989 8ba9afbdfc Snowzilla!

YouTube Preview Image
Snowzilla!

Snowzilla!

The Team Rubber snow crew were: Michaela, Tom, Stan, Richard, James, myself with help from Clare Reddington and the PM Studio crew.

Happy Snow Day!

Talk at Encounters tomorrow

Matt Golding - November 18th, 2009

I’m chairing a panel talk tomorrow with Dan Light (The PPC), Hazel Grian and Ben Dowden at the awesome Encounters film festival. Come along. The talk is titled Pimp Your Story and we’re going to be looking at how short and feature film makers are using the web in innovative ways to distribute and promote their films, and more interestingly, how the web is shaping new forms of narrative storytelling.

Check it out and book tickets here.

moz screenshot Talk at Encounters tomorrow

Encounters Festival

Encounters Festival

The Cat Map

Matt Golding - November 6th, 2009

We’re doing an increasing number of multi-asset web campaigns – working in social media channels (basically making a load of cool assets under some cohesive messaging and getting it to work on the internet). We’re getting better at planning these but I thought we needed a stronger shared understing of how this works, both inside Team Rubber, and with our clients and partner agencies. So I drew a picture of how I think these campaigns work, translated it into Lolcat Speak and called it The Cat Map. Its about how you talk to all the cats out there. What dyou reckon? Useful?

The Cat Map

(If you click on the map it will take you to Flickr where you can see it larger)

The horizontal axis shows the difference (which its increasingly important for clients to understand) between destination content (where they try and get us to drive traffic to a website or asset they own) and conversational content (where we make stuff that can exist anywhere). Both are important but they need to be planned right and work together.

The vertical axis shows the difference between your hardcore engaged audience and your more fleeting general interest audience.

Your engaged audience don’t need any fancy creative shenanigans, they just want access to information as they are already interested. They’re all about facts, integrity and long running info (start talking to them 6 months out!).

Your general audience are not ever gonna be that bothered about what you’re talking about so you have to make it relevant to them, interesting to them, short, sharp, engage, entertain, inform. This is classic broad reach viral territory.

We work with loads of types of assets now, either that we make or that partner agencies in the campaigns we work on make, and this map attempts to show where they all fit relative to their audience.

Each campaign should have an audience “shape”, which you can use to work out what assets you need, what distribution strategies you might employ. I mean I’m not implying you get this map out and it solves all your problems. But it might help make some client and inter agency chats a bit simpler.

Yes?

No?

Tell me what you think….

Matt – (I’m the CD at Team Rubber and you can reach me on twitter @mattgolding)

World Service Viral Chat

Matt Golding - October 19th, 2009

Yesterday at short notice I was asked to provide an opinion on the BBC World Service as to whether the viral marketing for 2012 had gone too far. The campaign around the film, which is based on an implausible disaster-movie scale exaggeration & embellishment of the pretty much instantly dismissable “Mayan 2012 conspiracy theories”, and was made by Roland Emmerich (the Day After Tomorrow – there’s a clue in his back catalogue), features a website claiming to be for the “Institute for Human Continuity“.

Incase you haven’t read any of the massive amount of chat on the internet about 2012, December 21st (or 23rd, there seems to be some debate about how to read the date) 2012 is the end of the Mesoamerican Long Count Calendar. I’m not going to claim to be an expert (merely someone who can read and knows how to drive a web browser) but its pretty easy to educate yourself as to some background on this – and if you come to the same conclusion I have – decide that there is absolutely no basis for the claimed theories that the world will end on Dec 21st (or 23rd  – imagine the stress if you were waiting for the end for two days!) 2012. Rather the Mayan’s actually said it was the end of the final of five ages that made up their 5125 long count calendar cycle. The fact they had invented all this calendar stuff in the first place is pretty mind boggling, and there are certain vague and disputably interpreted mentions of things that may happen around this time, but really it seems more likely it was the end of a calendar cycle and the beginning of a new one, rather than the end of the whole world. Its a little like people discovering some relics of our era with reference to someone organising a meeting near the end of the year, and assuming the end of the year was an apocalyptic event.

But conspiracy theorists have leapt on this with glee.

So the question I was asked was, was the website that the movie marketers made irresponsible? It claimed to be created by a team of scientists following 20 years of research into the phenomenon. But it did contain the movie studio’s logo, and a link to “Explore the 2012 movie experience”. So its fairly clearly for a film. In the work we’ve been doing over the last couple of years promoting movies, we’ve enjoyed extending film universes online in increasingly elaborate ways. We’re excited by the possibilities the web offers not only for marketing, but for storytelling in general. And we’ve done a few campaigns that play with reality (only in the same way theatre, TV, books etc play with reality, just using the tools the web offers). So I can see how this website’s come about.

Problem is a fair number of people, especially in America where people seem to be more susceptible to these things (dyou like how subtley I phrased that?) have contacted some poor Nasa scientist Dr David Morrison asking if there is any truth to the films entirely ficticious plot point that a planet from the far reaches of the solar system is on a collision course for Earth. He claims to have fielded 2000 e-mails including some from teenagers so frightened of the end of the world they claim they’d rather commit suicide than experience it.

So, on live radio I tried to give an opinion. But for the record, and having taken onboard the information I learned during the interview from Dr Morrison, my opinion is now that the campaign has made two errors:

1: The film is a massive over-hyping of an already ridiculously overblown conspiracy theory based on misinterpretation of historical facts. They’ve obviously chosen to make a film about this exactly because there is a large and active conspiracy discussing audience online. So its a bit of a no brainer that when you go paying high end hollywood screenwriters and big name directors to make a film based on such twaddle you’re going to get some of those folk already actively chatting even more confused. I’m not even saying the film isn’t going to be good – many films based on twaddle have been perfectly acceptable Saturday night entertainment, but they surely must have expected this. In fact it probably is a sign of success for what they’re trying to achieve. Although suicide threats are always a dubious success to say the least.

2: I have been told by the BBC producer who lined the interview up that the website has been promoted on US TV as a real entity separate from the film. I can’t actually find out if this is true on the interweb, but if it is, that sounds a bit of an error. Its fine playing with a savvy internet audience who can work out for themselves that this is all fiction, but while I don’t make out TV audiences are stupid, they may include less web savvy people who may not be able to read the clues that the website is fictional. I mean you can see that one coming too surely.

Live radio is always a little frustrating as you can’t go back and re-write it. But having reflected the only thing I think the film company have done wrong is not put a number or e-mail address for concerned individuals on the website. The biggest injustice here is the poor guy at Nasa having to console suicidal teenagers. Surely the film studio should be picking up the pieces for the (small) mess they’ve caused themselves?

Here’s a link to an MP3 of the interview

Taken from NewsHour on BBC World Service radio.
Presenter was Mary-Ann Sieghart.
Also featuring Doctor David Morrison, snr scientist in astrobiology with NASA.
Broadcast 21:20 BST October 18th 2009

igFest Champions!

Matt Golding - September 24th, 2009

We’d like to thank our parents, god, the pope, and …ah man it was a tough…but we won!

Last weekend, Team Rubber took part in loads of fantastic games at igFest - the Interesting Games Festival, in Bristol, and we’re super chuffed to have beaten the cream of Bristol’s creative agencies to win the Bristols Biggest Player prize for top performing agency!

Rainbow Rain!

Rainbow Rain!

This is a very prestigious award, gained through the dedicated exploits of our team evading the walking dead, hunting moose, throwing paint, reporting ficticious news and racing round Queens Square with lit fireworks. Beating off stiff competition from Aardman, we just manage to pip them to the post scoring 85 points to their 80.

Big thanks to the whole igFest crew – we had a blast! You rock our world and we’ll definitely be back next year in full force. We promise to bring costumes next time as-well.

Il Noche De Los Muertos

Il Noche De Los Muertos