Sep 232008

OK I had better blog this ‘press release‘ copied below which quotes me, but also as I am heavily involved in the creation of these courses and still running LAMP (the innovation unit at AFTRS). Frankly it is one of the best things to happen in Australian industry education for the last three years that I have been based in Sydney. AFTRS is renowned for its high production value filmmaking primarily with many students being nominated and going on to win Academy Awards, Oscars etc.

Via three years of LAMP I have had a key role in helping the internal AFTRS culture and curriculum adopt a new way of thinking about audiences and creating entertainment for them. This goes way beyond point and click, cross-media interactivity (very 90s) to experiential services and social media entertainment. So two key new courses below and a variety of ‘hybrid format’ workshops across the school will help create new thinkers – marrying dramatic story and immersive game, blending social with structured narrative and putting ‘play’ into areas where ‘playful interaction’ has previously dared to tread.

This press release from here and more about the courses here. There is already a high demand (Kotaku and Inside Film have more too) but pass this on to folk who want to play a part in the global development of the ‘gilm’ genre (thats mixing game, film, tv and virtual worlds to you and I) !

More on the wonderful world of Games and Film and Blended TV in an upcoming post with a Gary special, montage video 🙂

16Â September, 2008


15 September 2008

AFTRS_island_008Games and Virtual Worlds: a new frontier of experience

Can games have real story and rival the emotional pull of the cinema? Australia’s leading screen arts school thinks so as is introducing courses that prepare students for a future of filmic games and virtual story worlds.

The Australian Film TV and Radio School (AFTRS) has created two ground breaking Graduate Diploma courses specialising in Game Design and Virtual Worlds. These are two of the only courses in the world to explore the link between games or virtual worlds and cinematic story.

“There are already major Australasian filmmakers like George Miller and Peter Jackson working at the frontier between film and games and we know it is timely for AFTRS to integrate games into our screen directing program.” said Sandra Levy, CEO of AFTRS

James Cameron is currently creating games and social virtual worlds around his latest film Avatar and one of his most famous films, Titanic. He said at a virtual worlds conference last week “I’ve always wanted to let people see what it was like to sail aboard the Titanic, to really know the ship, the passengers and their place in history.”

The games industry is growing rapidly and now supports a vast diversity of content ranging from pure entertainment, online social gameplay through to educational simulations of real life and situations. Some of the leading practitioners in the world have helped to develop the AFTRS program including CTO of Relic Entertainment John Buchanan and Matt Costello who wrote the popular Pirates of the Caribbean games.

“Games are a key element of the global revolution in digital content” said Peter Giles Director of Digital Media at AFTRS. “We have built strong foundations for our games and virtual world courses at AFTRS over the past four years. Our expertise in computer animation and interactive writing has been coupled with our experience of rapidly prototyping digital content through our Laboratory of Advanced Media Production (LAMP).

Habbo Hotel, Second Life, and HiPiHi are among 50 social virtual worlds which now command more than 320 million users worldwide. Film and television producers have begun to extend their engagement with audiences by moving them into social virtual worlds and role playing games such as CSI creator Anthony Zuiker who said recently:

“In the gaming area, you want to give people tasks, to shoot things and upload pictures… You’re doing this because you want these people to be creating their own story and it will be part of the crime on the broadcast… Even if it’s not the actual thing I shot, I was part of that experience, that community, that narrative.”

Gary Hayes who has created the AFTRS Virtual Worlds course and led the LAMP initiative said, “It is important when designing any form of digital content that it facilitates active engagement by the audience so that, for example, they may become the protagonist in film-like games or the ability to create their own stories. Our courses will give students the tools to create this new type of experience”.

The courses will look at the cross-over areas such as previsualisation for films, virtual scenes that aid the filmmaking process, real life motion capture, cinematic writing, sound and music for game worlds and the role of artificial intelligence in creating rich game experiences.

AFTRS welcomes applications from all areas of the industry for these exciting cross-disciplinary courses. The courses are suitable for applicants from creative or technical backgrounds. So if you have highly tuned writing or directing skills we can help you to up-skill in games and virtual worlds. Conversely, if you have a games or virtual worlds background we can teach you the skills in leading and developing story-rich projects.

Visit for more info on how to apply.

For further information:

Karolina Lipiec
The Lantern Group
Ph: (02) 9383 4029 / 0415 985 058

Jul 052007

Games Universe 2

“Games are just games aren’t they, all the same thing?”. Wearing my Director of LAMP hat develop and training industry producers (working through the Australian Film TV and Radio School) I come across many traditional producers of media who just don’t ‘get’ games. They look at them through the corner of their eye in that slight crack that has appeared in the ‘mass-market, controlling-author’ blinkers they wear. I am being deliberately confrontational as this is a real and present danger and challenge for the linear TV and Film industry and those purporting to educate for that industry. On one hand they say we make films and TV because it is a mass audience and that means money up front and new media has no proven business models yet when you mention that games are actually as big if not bigger revenue generators they give you a look of “oh yea sure” or “so what, I don’t want to make shoot’em ups for kids”. Ummm. I am not going to make the case here for any side so will leave that to Terra Nova and as regards the games business then have a listen to a podcast I posted on the LAMP site from Luke Carruthers, here.

No this is more about the games universe – that vast range of ‘play’ that constitutes the highly prejudiced word, games. The games universe is big. I am always surprised at growth of the list of latest genre and sub-genre of games particularly across the many online game distribution portals that I am a member of. So I am not going to do a long list of (a) games genre (action adventure etc:), (b) mechanics (first person shooters etc:) or (c) the many game theory taxonomies (sequential, simul, non-zero sum etc:) but something more simple.

AFTRS is about to launch a range of ‘cinematic’ games courses – a particular focus on story, character and narrative. Related to this LAMP ran a seminar last week (which is now podcast – follow the next links) at Museum of Sydney that I called “Living the Story”. Jackie Turnure, a colleague, did a great games film overview and we were lucky last week to also have Deborah Todd over speaking at this event and helping us plan and think about what is going to be good for the games industry but also unique. Deborah wrote a great accessible book on Game Design – From Blue Sky to Green Light. During a brief planning meeting I/we drew up the simple diagram above as an accessible way for non-gamer types to get a sense of the scope of the industry. The diagram attempts to show several things which are all open for comment!

1 The two axes are immersion.
2 The y axis immersion is based on how much is spent on the ‘experience environment’ or the production value. So the better the sound, vision, narrative, characters and mechanic then potentially it will be more immersive – think Shadow of the Collosus on PS2 vs Tetris on a mobile phone.
3 The x axis immersion is based on length of time spent playing. So a quick casual game quiz vs infinite play in virtual worlds and MMOGs – generally! Therefore the more time ‘inworld’ the more immersive
4 The size of the bubble is meant to suggest audience/market size (and is probably the most contentious) so think of this as illustrative, please.
5 Then there are the distribution platforms – locative, PC or dedicated console. This explains why AR Games (alternate reality) have a big foot in locative.

Well it is a first stab. One thing that is obvious is the semantics and naming here. Console games for example refer both to the platform they are on but in the industry also suggest that they are a triple A title – the feature film equivalent of games, delivered on consoles and PCs. Hence that paradox of console games on PC. We also have terms that feel like genre, serious, casual, but again refer to a broad range of sub-categories (in other words you can have a First Person Shooter, Action, Serious Game).

Disclaimer: The above represents my personal views and not that of any employer.

Posted by Gary Hayes © 2007

Jul 222006

A quote to start off yet another Virtual World post…

‘“Nothing exists except atoms and empty space; everything else is opinion’” Democritus (Greek philosopher, 460-370bc)

AFTRS Island Second Life

We live in a world where you don’’t need to eat or drink, you cannot die or harm yourself, you can breathe underwater and you can fly? Add to this our ability to build things in mid-air, walls you can walk through, objects that disobey basic physics and we have the potential to create social spaces only limited by our imagination. I have decided to take on solo, the task of completing the first phases of a sim, an Island we called Esperance. The build is truly started from scratch on behalf of the ‘‘real life’’ Australian Film TV and Radio School, where I currently work as Director of LAMP, outreaching into the Australian Industry – but also focussing on activating the internal school community. Given a blank canvas I have come face to face with the tensions that exist in creating back-to-back social and work-spaces, in a virtual world. The main tension is actually one persistent in second life – to be representational or to be original, to innovate or invent and to over-build or leave space.

Second Life Midnight CityBut to start with a broader question, given the flexibility mentioned above in Second Life why is there still such a high propensity of real world cloning taking place? Not just copying individual instances of architecture but dense populating communities. OK I know the way land is sold back-to-back in SL, that it is inevitable that it will get dense but even on islands our human nature drives us to build way too much. There are malls just like our real world ones, city streets and buildings with ceilings, windows and physical walls and endless roads and pavements so you can ‘‘walk’’ around. Yes it does seem remarkable that in Second Life many of the residential, social and commerce areas are just models of our real world spaces for our enhanced real world avatars to exist in. Some of the earliest builds like Midnight City (above) complete with New York police sirens and pneumatic drills, replicas of Amsterdam, endless Arabian palaces and several concrete University campuses abound. Why do we need the recognisable? Why is the recognisable not even extended slightly to include unique, never before seen features? OK there are a few but the mainland of SL is, at a rough guess, over 90% environments that can be built in the real world. We do need some recognisable areas to start from sure but why not extend and experiment.
AFTRS Island Second LifeThe areas I enjoy most in SL tend to be the enhanced naturalistic spaces such as The Lost Gardens of Apollo, the Underwater Caves at Rua or The Pot Healer Game on Numbakulla. So in designing the AFTRS island from ground up I had to balance the need for work (media production spaces) along with the need to socialise, play and relax. I knew this was going to be a never-ending, iterative organic process so I took the plunge and over one day two weeks ago effectively built what will be the foundation of the AFTRS Island (I have enhanced it last weekend and those are the images you see here). With a list of needs I decided to roughly consider the island as two broad areas, work and the play. I started a ground level literally with the terrain greyscale file. This allows me to terraform the whole island in one go using a simple 256 pixel square 13 layer raw graphics file, manipulated in photoshop. After five or so misses I got the basic landscape close to what I needed and have of course been tweaking on the ground ever since. I wanted a balance of flat, built up spaces and naturalistic, vertical play areas. That balance I believe is still being achieved, but will be an on-going journey, especially when staff and students start to get their building ‘‘legs’’. I did have the option to make the ground completely natural and build functional spaces in the sky but I believe work can be enhanced by being near the coast with crashing waves and natural sounds around you.

“The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man.” George Bernard Shaw

AFTRS Island Second LifeTo follow on from the start of this post I had a traditional tryptch of building options ‘– representations, enhanced representations and originals. The representational spaces included the main cinema/theatre (pic above) a smaller enclosed forty seat TV studio, a range of production backlot for film sets, and a few scattered dept. offices. The theatre took most time as I wanted something to hold up to one hundred in a screening situation and double as a multi-camera live shoot for theatrical and music performance. It is constantly evolving and getting close to a functional space. I built a ‘‘representational’’ sadly, new camera for all areas, and added AngryBeth’s great camera switching script that she gave to me a couple of weeks ago.

AFTRS Island Second LifeThe enhanced representations included a main AFTRS information, meeting tower and a range of naturalistic forest, coastal and mountain social spaces. The tower, which sits in the mid point of the island, would hold areas for visitors to see, interact with and find out about Australian Media plus a few permanent office-type areas. There was talk of building a replica of our new campus, but as this is still being designed and my reticence for the real world I suspect that will go away. For the main tower I wanted something that allowed views of the whole island at work, didn’’t feel claustraphobic and was easy to explore ‘– by flight as opposed to walking up long ramps everywhere.

AFTRS Island Second LifeThe picture on the right show some aspects that are still being developed, but the translucent, phantom walls and easy to access layers means we can keep developing upwards as departments and info needs come on stream. It takes some getting used to, avoiding walking through phantom walls as you will fall out of the building, but hey don’’t walk through walls. The central fly-up tube is proving interesting in tests as it requires some control over your ascent skills, slowing as you get to the floor of interest and flying through the wall. I may build this on the outside wall as people tend to keep falling back down the central tube as they explore each floor!

AFTRS Island Second LifeThe third build paradigm, the original spaces include some ground up designed rotating meeting pods which allow up to nine seated chatters, a breakout five way enclosure and a couple of underwater meeting spaces. I was surprised how sitting underwater with fish swimming around actually allowed one to focus far more than a boardroom, campground or simulated coffee shop. I am developing a growing range of experimental flying spaces, many slowly rotating but allow all users to focus on each other while providing a sense of change and space. I like meetings in NightSpys ‘‘Holodeck’’ that I have permanently out in the backlot areas, but as this is 360 views of our real world it breaks whatever fourth wall there already is in SL ‘– no I am developing more amorphous, soundscape and organic spaces that promote original thinking which I will cover in a future article.

AFTRS Island Second LifeFinally back to the start it is worth pointing out the thinking behind the layout of the island. Even though the island is effectively a series of smaller ones, as I wanted water to be only a few tens of meters from anywhere and no built up canals, it was important to make the whole area walkable for some game applications. I have been to many sims and not got a sense of real space as, and this contradicts what I said earlier, you are blocked from walking and only walking. It is possible to circumnavigate Esperance by foot and I have designed quite a few hidden valleys and caverns for simple quest games, especially around the LAMP (Laboratory for Advanced Media Production ‘– which I direct) mountain, breakout areas. There are many other aspects that one must consider when developing the areas around the island and these must fall into the mood category. The vegetation, environmental sounds or music, local props (waterfalls, fires) and of course thought about the composition and delineation of each space and how much it is removed from other spaces but still provide some island continuity.

AFTRS Island Second LifeIt has been fun starting this process from scratch and I am finding that that all the AFTRS students who have been initiated into the environment are getting very excited about the many and various aspects of it. I am excited to know what those being trained professionally in the craft of TV and film making (many who go on to win Oscars) can do with this environment, I wonder also how representational (like the TV studio set above) they will need it to be to create wonderful machinima rich with story. There are many other things we have planned for the world including script and story development through improvisation and indentity experimentation, set design, collaborative development of interactive 3D objects and environments, game narrative creation and sharing/hosting screening festivals, presentations and learning events – plus all the awareness raising around Australia’s premier media academy. As in any new form there are the early entrants who pioneer but then quickly those who can communicate narrative (linear and interactive) at a much higher level are tempted in when it reaches a level of maturity, second life is very close to being there.

AFTRS Island Second Life

I have tried so far in the initial phases to not borrow too heavily on either the real world or existing areas in SL. If you are any of the twelve thousand land owners in SL you will know how satisfying but fiddly it can be creating the spaces in our virtual world, the constant tweaking, going through endless modifications and alternate builds. One thing should pervade your thinking though, try to fight the need to fill in all the spaces and make the virtual world as over-built as our real one.

If you want to see more images and the build in progress visit this photo journal on the LAMP site.

Posted by Gary Hayes © 2006

Jun 072006

Yesterday I chaired the Mobile Content World Australasia 2006 Conference in Sydney and moderated a couple of panels. I gave an opening (provocative as far as an industry conference goes) address and a few people have asked for copies. So as powerpoints were banned (by the switched-on Terrappin organisers), and as my notes eventually turned into a script (I prefer not to read scripts – no room for personalised delivery!) – well I had it to hand. So here it is. Short, succinct and afterwards I list the people on the panels during the day – and when I get time I will give some opinion, add on what I thought of the event, the discussions and a few of the toys I saw such as a 3D phone and some great social network services, very cool.

Where are we? Where is mobile content on its evolutionary path? Is it well adjusted late teens or is it still a screaming adolescent? What are the real signs of maturity in the industry?

I am Gary Hayes, Director of the Laboratory of Advanced Media Production in Sydney, part of a government initiative run through the Australian Film TV and Radio School. We work with major ‘heritage’ media producers to prototype next generation cross-media services. We will have prototyped over thirty eight services by October many of which utilise mobile devices. I am originally from a digital broadcast and broadband TV background and when I was senior development producer at BBC New Media for 8 years I started out by putting the first audio, video and vr services onto broadband PC too. This makes me sound old but this was only ten years ago remember. I also worked in the US for a couple of years developing broadband TV services. The only thing mobile was useful to the broadcaster, when we were beginning Interactive TV services six years ago, was to vote, SMS chat or send in text messages – at premium rate of course. Have things changed that much?

The mobile industry today reminds me to a great extent of the early digital TV and broadband PC days back in 1996/7. We weren’t sure if putting video (or TV as we used to call it) onto the web was really going to work. We were not sure if communities and social networks would grow with any permanence on the web, which in those days were mostly shopping malls and advertising billboards (web 1.0) – and we weren’t sure that people would really use the web to be creative – many thought the web was about email (simple communication) and information. Ring any bells?

On mobile phones, of which the current incarnation has evolved out of the early web so the comparison is slightly flawed, we certainly have lots of walled gardens, chat communities and ubiquitous shopping malls. We have first generation services streaming live video (or TV as we used to call it) and video downloads – and in trials people are using DVB-H for up to 20 minutes a day. We also have games that are catching up to the quality of PS1 consoles of the mid-90s and communities in a sort of trial phase. Then there are the tablets, the iPods, PDAs all part of a convergence as everything becomes connected and we can store all the content you would ever need, at any one moment in time at least.

But mobile devices, particularly connected, location senstive ones have so much more potential, even now. What is holding them back from becoming the epicentre of consumers media universe? Price? Storage? The Experience? Interoperability? Quality of Service? The Business Model itself? ROI or Greed?

In the last five years things have changed considerably on the web – and now web 2.0, as it is called, is flourishing, and millions are actively participating and creating content. Blogs, vlogs, podcasts, shared spaces and mass multiplayer online role playing games are everywhere. People who play online games are not watching TV anymore, in fact they are not doing much else besides these social network based, online games. So why did this happen, what can we learn?

Part of why this happened is that firstly TV, a medium that used to be the media hub, has not evolved quickly enough for the active consumer – who need to share, communicate and participate ‘in’ the medium itself. Sure TV (the form – bite sized chunks of entertaining video) is gradually breaking free of its chains in the corner of the room, slowly becoming connected on the web, but we all know it will have to quickly morph and change its stripes to survive the next decade. Those early broadcast interactive services I had a part in creating or the early TV walled gardens such as Sky’s Open… (RIP) were in retrospect, stepping stones towards the great triple play of IPTV – also known as broadband content delivered to the large screen we used to call ‘a TV’. So why did this happen, what can the mobile industry learn?

People move to where media (their own and that which they pay for) is easily shared, published and moved between all their devices and friends and family. They buy content for themselves and not one device. They go to where their voice is heard and where they can be active participants. Any platform that locks the active ‘panther-like’ consumer in a cage, in the medium term, is doomed to failure. Early web portals like AOL and digital TV walled gardens know this. The mobile industry needs to take stock and grow up. Break down the walls, create interoperable marketplaces that will create traffic, activity and flourish. It also needs to treat the consumer as an individual and it has such potential to be the test bed for real personalisation – in fact that is it’s USP, its saviour and the true thing that can set it apart in the platform jungle. Getting the right ‘rich media’ content on top of each individuals portal in real time, on the move is key and ARPU will increase exponentially.

Speaking of personalisation, or rather customisation, I forgot to tell you I am a flasher. Not in the pants domain no. Dismayed by the amount of relevant rich content on various 3G portals I tried, I decided to flash my Moto v3x phone a few months ago. Yes I joined the dark side of the force, the modder community and now, move ‘my paid’ for content freely between PCs, iPod, PDA and phones. I suspect there are many more that would like to do so too. Beware of that crowd, unless you deliver quickly they will be looking elsewhere and WiFi, WiMax and Bluetooth connected (non mobile phone) mobile devices are getting itchy feet in the queue behind you.
Imagine now Ennio Morricones theme tune as we quickly look at the Good, The Bad and the Ugly of the mobile industry, the themes that we will be exploring in today’s conference.

The Good – three of them:
1 – mobile phones are still the most effective way to connect, mobile people. So we have two sessions dedicated to how mobile communities can increase traffic and ARPU. In publishing consumer content there has been some innovative phone user generated TV shows such as Syamekke in Japan, Cult TV in France and even a dedicated TV channel Tu Media in Korea showing nothing but viewer content. Using the phone as a tool to vlog and publish onto TV will both educate and inspire the audience and inspire.
2 – Another good seachange is at for example. They are creating tools to allow consumers to sell content (ringtones, wallpaper and create webpages) to each other – micro viewer economics that really drove traffic for eBay, MySpace and a few virtual shared spaces on the web like Second Life.
3 – Also in the good camp is the phenomenal success of the mobile phone billing system. Some have called it ‘implied commerciality’ – people accept they have to pay for everything – but that also means people are far less eager to try new things which is also…

…The Bad – to me bad is still the simple lack of interoperability and the walled garden. Interoperability between mobile devices, between operators, and across the off-portal piece – but really, between consumers. Sure things are improving but without simple ways to share and move media consumers will find alternate routes as digital content wants to spread. No one operator can fulfil the need of any consumer so providing easier routes to get to off-portal content is critical and providing a higher quality experience on that journey is even more so. We have sessions looking at fulfilling the promise of 3G and on and off portal internet

The Ugly – We can do so much more to get the right content to right consumers. Personalisation, targeting and easier search are critical. Finding content is sometimes ugly at the moment, no in fact it is very ugly. Deep menus, busy interfaces and superficial content once you get there– we have panels today focusing on the consumer experience and how to create stickiness through usuability that will hopefully help us out of this maze.

OK enough from me time for some statistics now and a look at What Consumers Actually Want from the Australian mobile perspective, from Claudio Sagripanti of AIMIA and Venture One.

Welcome and Opening Remarks from the Chair
Mobile Content State of Play – the good, the bad and the ugly
Gary Hayes, Director, Laboratory for Advanced Media Production

Mobile content industry landscape
What consumers want – results from the Australian mobile phone lifestyle index
Claudia Sagripanti, Chairperson, AIMIA MCIDG and Venture One

International Keynote
Engaging customers through mobile entertainment
Ira Rubeinstein, Executive Vice President,
Sony Pictures Digital Entertainment

TV to Go – Effective programming for the mobile
Jim Shomos, Creator and Executive Producer,
Forget The Rules

Panel Discussion. Carrier Panel session – Fulfilling the promise of 3G
Gary Hayes, Moderator
Michael Padden, Head of Mobile Content, Telstra
Mark Mulder, General Manager of Content and portals, Optus
Adrian Crouch, IPX Country Manager, Ericsson
Richard Sherwood, General Manager of Mass Markets, Vodafone Australia
Scott Taylor, General Manager of Content and Services, 3 Australia

Communities – find the way into the truly viral market
Jennifer Wilson, Head of Mobile, HWW

Panel Discussion – Exploring the benefits of mobile communities
Jennifer Wilson, Moderator
Olivia Hilton, Chief Executive Officer, Jumbuck
James Cleary, Founder and Managing Director, Amethon
Paul Gruebar, Product Marketing Manager Premier and Youth, 3 Australia
Gregan McMahon, Regional Director Australia and NZ, Yahoo! Mobile

Creating a compelling – customer focused experience
Gary Hayes, Moderator
Annie Mackin, Head of Mobile Content, 3 Australia
Cyrus Allen, General Manager, Telstra Product Management, Telstra Corporation
Steve Watson, General Manager Group Portals and Entertainment, Legion Interactive
Oliver Weidlich, Managing Director, Ideal Interfaces
Trevor Goldberg, VP Global Partners, Bango
Arun Gupta, CEO, Mauj Telecom

Mobile Media: Mobile as a new opportunity
Peter Egberts, Business Development Director, South Pacific Region, Netsize

Speed Networking

Creating mobile content differentiation and brand experience through a consistent user interface
Dr. Yan Zhuang, Director Business Development, QUALCOMM Internet Services

Roundtable discussions
Roundtable one: Mobile Communities
Facilitated by Jennifer Wilson, Head of Mobile, HWW

Roundtable two: User Experience
Facilitated by Oliver Weidlich, Usability Specialist, Ideal Interfaces

Roundtable three: Mobile Media
Facilitated by Peter Egberts, Business Development Director, South Pacific Region, Netsize

Closing remarks from the Chair

Posted by Gary Hayes ©2006