About Diogo C A Martins

Transmedia Producer @ MediaCorp (Singapore)

5 future uses of immersive FullDome entertainment (incl. investment opportunities)

Content, Interest, Platform

Till now, most content that is projected/produced on FullDomes around the world is either fully CGI based imagery (cartoons, educational shows, animations, etc), or space/nature imagery through Time-lapse capture or IMAX shot and later blown out footage.
With the rise of “high pixel count” stitching and other computer augmented devices, the necessity of distorting imagery or simply creating it digitally is becoming a thing of the past with the possibility of live action shooting in a FullDome delivery thought out process.IMG_5530This is where the technology/workflow presented at the HK Filmart 2013 comes in.   

IMG_5532Please refer back to our previous post for the technical specs/presentation of what was showcased in the March event.
The information presented below is bearing in mind the production and presented workflow/technology used from SalonFilms and presented in March of this year.

Possible Usage of FullDome technology

Environment simulation (integration to a 3D cave simulator) for technical training
For all problematic, complex and dangerous training situations, nowadays, big services and technology companies train their technicians through a mix of simulators and 3D projection caves (example of the technology).
This technology helps qualified personnel in getting used to the environment they’re going to find in the field and adapt their processes and workflows into the situation they find themselves in, generating better and more prepared technicians.
FullDome live action capture can, not only replace some of these environments with real life imagery and therefore help with a better integration of the user into the environment, but it can also better prepare these technicians as place illusion can be essential for a better capture of the learned outcomes through the simulators and having them totally immersed in their environment.

House and building reproduction through CGI or through model reproduction with High-Def cameras (Property Showroom)
Property development in HK grows at a rampant and unstoppable speed year on year.
Every month, companies try to find new ways of attracting possible buyers into their properties with new and innovative gimmicks, with some of the most popular being house and environment demos (built on the spot exhibits of what the environment inside a house would look like) and beautifully simulated environment videos (2-3 and sometimes even 4 wall projections of the environment). These simulations/demos also have a more tactile component to them as some property developers create a real set experience where people can walk through a built apartment near where the construction of the property will be developed.
A FullDome simulation/capture of these environments, not only would give clients a better understanding and immersiveness of the house/property they are interested in buying but it would also give the property developers a much broader and cheaper way of transporting and multiplying their simulators into different locations in Hong Kong and even Worldwide.
With the use of the portable Domes and the high quality, high pixel count projectors with great looking content, property developers would have a great way of “wowing” their costumers and better influencing their buying habits.
If the production of the property is still under development or there are only computer generated
 images of the environment, then the technology developed through FullDome projection can also be incorporated to fully CGI’ed imagery, but with a much higher resolution than now available in the market.

A seamless integration of content in entertainment environments like park rides, haunted houses, etc
One of the biggest uses of large projected images in the world today, are entertainment experiences through simulated locations (Universal Studios, DisneyLand, etc).
These locations are usually designed so people walkthrough or are escorted through environments with single points of attention (like screens, posters, tactile simulations) and are limited to the construction of the environment in accordance to the better POV’s that can be captured from the audience.
HAUNT_1_998With a FullDome integrated environment, these experiences would not only be much more fun and interactive, but they’d have a much larger component of entertainment to them, as any location, environment, situation, could be enjoyed through different perspectives, and hence give the audience a multiple try experience (they’d go to the location as many times as possible so they’d be able to enjoy it always from different points of perspective).

Educational purposes for better image capture of remote locations
One of the main usages of FullDomes around the world is education.
Having a great sense of wonderment and immersiveness while being at a FullDome experience is an integral part of a tech savvy and habituated child’s growth and with the newly presented tech this niche market can become bigger and bigger.
A common FullDome is a still and limited look at an environment, projected and captured through a single view point/perspective. With the new technology from Filmart, this might not be a limitation for content/educational creators anymore, as the attention of a child on the screen can be captured by multiple viewpoints of the content that is being presented.
A full 360 degree image is simulated (rendered or captured) in the FullDome environment and children that way have a constant interaction and immersion to the imagery presented, always having a point of attention on the screen with their movements.

Live entertainment opportunities in concerts, sports events and environment projection for new shows Simulating different environments in home or live use.
Interactivity in events is something that is becoming more and more seamless in the tech community, with event planners and production specialists always trying to find new ways of capturing the attention of their audience.
A great example of having a specially created FullDome experience for an audience is them having the possibility of experiencing a 360 degree event that they can enjoy without being preoccupied with the people around them covering what they are looking at during the event.
A FullDome environment has multiple attraction points of content for an audience and with the immersiveness that that brings to them, the audience has a further satisfaction from the content (concerts, sports events, etc) that they experience.
Watching live coverage of the Olympic games in multiple countries with totally designed experiences of the events presented (one of the limitations existing in the Olympic Games is several specialized sports events in single locations at the same time, that have to be cut down or edited in broadcasting or post-production), being a part of an audience at a Formula1 event, watching a total immersive experience at a concert with beautifully shot surrounding environment shots, Having concerts inside different locations in a matter of minutes while the musicians are playing inside the Dome… these are some of the experiences a FullDome installation and Live Action capture can give to an interested investor and audience.

Investment opportunities

As with all state of the art technology, the necessary initial funding and development process is long and arduous, with a lot of focus being targeted at the feasibility of the tech in accordance to the market’s needs.
In this aspect, FullDome technology isn’t any different, although it brings new and exciting possibilities to the table.
Not only are investors, producers and developers in a stage where they can influence the integration and evolution of the technology, they have the possibility of revolutionizing several norms of entertainment and experience based technology into generating fully immersive environments with beautiful and seamless imagery.
Although the technology has gotten to a stage where great possibilities are foreseen, the necessity of content generated to attract possible costumers is a must and this is where Haexagon Concepts brings to you a call to arms.


If you have great ideas or are interested in seeing where this technology can take you and your costumers, contact us at: concepts@haexagon.org or through one of our several Social Media Networks.

Klout and Influence in a Transmedia Universe (Part 5)

So… continuing this week (with a bit of lag…).

On the 3rd and final month of this experiment, everything changed.

I finally finished my experiment. But there were some strange conclusions.


What was expected in the beginning ended up being finalized (although the “targeted decrease” was nowhere near what was envisioned).

For now, a simple conclusion to this test is, no matter how “low” you think your internet/social influence is, if you’ve amassed a certain number of people around your networks, that influence/klout, will eventually have a threshold. Mine, was apparently between 45 and 50 Klout points, which meant that no matter how low i’d get, I am always around the mean of classification of internet influence.

So, let’s get to the final numbers and changes.

By the end of the third month, I changed from Specialist to Networker, and with this, some new information arouse – I was now someone whoknows how to connect to the right people and share what’s important to your audience. You generously share your network to help your followers. You have a high level of engagement and an influential audience.

I still kept my 8 Topics – Photography, iPhone, Macau, Youtube, Hong Kong, Films, Entertainment, Cannes.

Now, nevertheless, my network influence was down to 422 people as opposed to the initial 1100. A steep decrease overall, but still an acceptable number.

During the 30 day period between the 2nd month and the 3rd and final, I reached a Peek of 51.52 on the 2nd of July and my Score at the end of the test was at – 44.80.

At the end of the 90 day period (Klout’s average time of analysis), I had, 4 Retweets, 15 Mentions, 79 Followers and I was Following 353 people.

On Facebook, my main network of influence, I had 66 Comments, 305 Likes and had 30 Posts on my wall (received, not posted by me).

My Google+ page as always, was totally irrelevant.


During this ending period, my True reach reached the Highest point 899 on the same day as the Influence Peek – 02/07 and was stable now in the 400’s.

My Network Amplification was at 11 and my impact had gone down to 27, which meant I was now “half” as influential in terms of impact of message, than I was at the beginning of the experiment,

At this time I now only had 3 people that I influenced, and they were – Mariana Silva 4, Elly Luo 39 and  Huang Jianhong 11.

My Influencers were –  Juergen 59 (Down)

Kevin Ma 46

Marco Sparmberg 51

Angelo Costadimas 47 Down)

Sean Tierney 32 Down)

Cintia Milk 50 (New)

During the 3 month period, my Klout score was never under 50, reaching its Lowest point at – 50.58, but, at the end of the test (the steep drop happened 2/3 days before the end of the experiment), I was around 44, 45 points clear.

Although not extremely scientific, this experiment ultimately thought me something about internet influence and the part each of one has in the social/media interactive world.

We are what we put into social media.

I personally don’t usually post personal message on my networks but when I do, those seem to be the posts that have the more interactions between me and the people around me.

My problem with this little detail (and differentiation between a regular poster of interests as opposed to a social “interactor” via new technologies) is that some people take advantage of this to create their own “social personas”, ending up, sometimes revealing too much about themselves (here the dissociation between real social interaction and the need for any interaction, plays a big factor in content disclosed) while others, tactically use their social networks, most of the times, being called “gurus” of influence and social interaction, when they’re simply using this surreal reality as a means to an end instead of a vehicle for their real selves.


Next week I will post infographics of the “voyage of disinfluence’ I had during these 3 months, and will post some other conclusions over what arouse from this test.

See ya next week 🙂

(To read up on previous posts, please do so in the links below)

Part 1

Part 2

Part 3

Part 4

Klout and Influence in a Transmedia Universe (Part 4)

Once again, hi everyone, welcome back.



Example of some companies that are using Klout to adjust their media campaigns

So, this is test on its 2nd month started to become extremely weird.

I maintained my “Specialty” of course, but as of the 3rd of July, something had changed.

My topics were the same while some stuff started dropping and others rising (what the?!?).

My influence was now at 899. Yes, you read it right, 899… I was reaching 4 more people after a month of nothing in my social persona. Nada.

My peek, during the 90 day period was now on the 9th of June and it was a 56.56 high peek. I know! How could my score continue so high? Especially when it was under no influence by me whatsoever?

In July my score was at 51.52 (down from June). This was expected.

But I kept getting Retweeted (4), Mentioned (36), Commented (162), Liked (540), receiving wall posts (49)

The only thing that apparently didn’t change, was my Google+ page (at least in traffic on it).

During the peek in June, my true reach hit the highest point of 1549, giving me an amplification of 23 and a network impact of 46.07 (in July it was 38).

In June I was starting to become more active in our Haexagon Concepts Facebook page, but I had no contact with my Diogo Martins’ page. None.

I was signing all my posts as Haexagon Concepts.

Then it hit me… Is Klout counting my pages?

This thought was hastily demoted from my brain as I found out, Klout didn’t count Facebook Pages (they either count personal pages or company pages).


In today’s day and age, having 1 million listeners is seen as something that others should aspire to, instead of something that should be cherished 

In terms of people I influence on a daily basis, I lost on this 2nd month Marco Sparmberg, Alexandra Ferreira and Jenson Cheung (as noted).

Influences – Mariana Silva 46 (Down)

       Elly Luo 44 (New addition to the influencees)

       Rui Abreu 47 (Huge spike up!)

      Huang Jianhong 12 (Down)

What was fun on this second month was the new additions to my influencers…

Apparently I became a Bieleber or rather, I started having Bieber Fever!!!

Influences –  Justin Bieber 100 (New Addition)

Pitchfork 79 (New – I do daily clicks on the site)

FilmBusinessAsia 39 (New but rather important in my network)

Juergen 60 (Maintained his statute)

Kevin Ma 46 (Down)

Marco Sparmberg 51 (Down)

Angelo Costadimas 50 (Down)

Paul Fox 36 (Down)

Sean Tierney 37 (Down)

The first thing I noticed on this month was that my Klout score has never gone under 50 – Lowest point 50.58! Something that Marco Sparmberg also noticed a few weeks back in his blog post.

Second was (and this one’s a doozy)… my Facebook network got bigger!
What, you may say?!? Yes… it grew.

MY network now was at 1106 people… I confirmed through my pages and at the Haexagon Page, there were 187 likes, SUI (a weekly screening page that has been inactive for a while) 39 and Audiophobia (a documentary page about teaching music) had increased in 170 (here the increase was largely due to the push from some of the other creators of the doc, to garner new likes).

My Twitter followers was at 94, my Linkedin network was at 356 and my Google Plus account was at 1229.

I was apparently reaping more benefits by not doing anything (objectively, although my Klout score was going down, everything else was going up!), than to actually spend “hours a day trying to control my networks of influence”…

This was something I did not expect.


Not true…

Like before, join us next week for month 3 (and last) of this “odyssey”.

Part 1

Part 2

Part 3

What would Transmedia look like for a Paul Thomas Anderson film?

Paul Thomas Anderson (PTA) is the ueber “indie filmmaker”… he has writen, produced and directed almost every single one of his films. Control Freak? Possibly… Artist? Probably.
He frequently works with the same people, always has strangely magnetic characters invade his images and has been awarded or nominated for every award that exists in the film world (although maybe due to his youngness, he seems to always be surpassed by other “masters”).

This is where his latest film comes in.

Production for – The Master – started last year and since then (June), very little has been known about the film other than it being about “an intellectual that starts a religion in the 1950’s”. Slowly people started associating the possible story with scientology (denied by the director) and after the announcement of Joaquin Phoenix as the lead in the film (Phillip Seymour Hoffman also stars), with all the craziness surrounding his previous work (Phoenix did a “Chris Farley/Christian Bale” 2 years ago and went nuts on screen/off screen with I’m Still Here), some started being afraid the movie was “out there”.


Nothing better than a difficult movie to see to make one’s the juices flow.

But how do you advertise for it?

Modern film campaigns, in the US, have been largely targeting a young audience and so, “brainy”, difficult films, always tend to be sorely represented in the marketing/media world (most are certainly backwashed into the market after or little before the Oscars, so they get attached to the coat tails of that billion viewer event).

Such an example was easily demonstrated by PTA’s previous film There Will Be Blood – a 25 million dollar production (with a severely lacking media/screening campaign), that was for the most part, one of the best films of the year (2007/2008), released for oscar classification on the last week of December, relatively badly received in the B.O. just before the Oscars’ live event (the film was steadily in the 2 digit ranks) and then pushed everywhere after the middle of February and its interest during the Oscars (8 nominations). This gave the movie a solid B.O. (box office) for a cerebral, period film – 76 million dollars, but it would have gone relatively unnoticed wasn’t it for the awards season.

PTA, this time around, doesn’t want this to happen.

Trailers are the center piece of almost any “modern” campaign and, with the quality of some of their editing, almost every film that is advertised through a trailer “leaked” on facebook/youtube/twitter, is “going to be awesome!!!”. But that doesn’t happen.
Trailers adulterate, distort and flourish most films that they advertise and… most of the time… falsely advertise a film that no one (or very few) actually want to see. 

The Master was presented last year (in poster form) at Cannes as “The Untitled Paul Thomas Anderson Project”. That (like for most oscar campaign films) was the first tease.
Then came the second poster. And the third.

So then, PTA to get the public’s interest peeked, came out with not 1 but 2 unconventional teasers (“Was there a fight?” and “Hopelessly Inquisitive”) in the space of  a month, this, before he had ever shown the film to any critic around the world (just a limited footage screening in Cannes, this year).
At this point, the Weinstein Company (the production company had previously passed on producing the film) was intrigued and bought the international rights for the film.

Not soon later, a theatrical trailer for it came out (… thank you… Weinstein Company… for “keeping things common”), and several “secret screenings” have been held.

With the trailer out, my thinking was that it was just another “teaser campaign” with the 2 previously released clips being just a “drop in the water” of the “what could have been” Transmedia/New media campaign.

But it wasn’t.

Yesterday, another one came out – “I lost my ship!”

4 have come out in total. Together they make about 6 minutes of footage.

Rumor is, these videos are “cuts”, “extra footage” or simply “raw footage” that didn’t make it to the film.
It isn’t unknown to come out with dropped footage before a film screens in theaters, but this is usually thrown together into the theatrical, teaser trailers.

No one wants to show pieces of their films for free… but PTA doesn’t want you to go see a film you don’t want to see. He’s giving you exactly what you want. A real look at what The Master is and not what an editing (subverting) team, can make it look like through “masterful” editing/sound manipulating techniques.

But he’s doing it differently. He’s not showing you the film.

He’s showing pieces that didn’t enter the puzzle.

He’s showing you content that isn’t in the final product.


“Was there a fight?”

Hopelessly Inquisitive

She wrote me a letter

“I lost my ship!”

Do you want to see the film? Maybe… at least you can see from the videos how the pacing, style and acting will be like… so… you choose.

Not a tough choice. It might not be your type of film but, at least, you can definitely decide if it is worth it or not.

Nevertheless… If more of an example of how off quilt the campaign for the film is…

Check the film’s official page – http://www.themasterfilm.com/


It just shows us what the film looks like through video/youtube form. Period.

Do you want to see the official poster?



A trend flows through the videos, poster, website.


And not the usual “bullshit” of Augmented advertising that comes out every single week. With manipulating coloring schemes, face/body positioning and loads of unwanted visual information.

And then there’s Twitter.

If there ever was a film that is being helped by its Twitter comments (reviews) it might just be The Master.

It’s getting rave reviews from the surprise showcases in the beginning of the month (and the August 3rd Venice 1st Screening), having more critics, fans, etc, wanting to see it as fast as possible.

So much so that the Weinstein Company has decided to come out with the film on limited release on September 14th (almost a full month before its original release date).

Yes… I know what you’re thinking. “This isn’t Transmedia!”, “He’s just using the same techniques everyone does”… “That’s already stuff from the film, not developed for different media”.

True on all counts.

But you must remember… change takes time… and these small videos show exactly that.

Something is changing.

It might not be a “true” Transmedia campaign but, it certainly is different.

And interesting to watch.

Don’t believe me?

The Official Trailer has, to date, 444,605 views.

Was there a fight – 780,900 views.

Hopelessly Inquisitive – 31,000 views.

She Wrote me a Letter – 111,489 views.

I lost my ship – 306 (still under youtube’s calculation period).

The 4 clips would have eventually come out. Probably on DVD/Bluray and then posted online.

Then… why not benefit from them?

They have together around 1 million views.

That might not be a transmedia campaign or product, but its getting there.

It’s changing the norm.

Let’s hope more directors, producers, studios, think of ways they can innovate in how they present their films and then, maybe, for his next film, Paul Thomas Anderson might go all out and present us with a complete transmedia film.

Here’s hoping.

Klout and Influence in a Transmedia Universe (Part 3)

Hi everyone, welcome back.

So, continuing…

First, let me state something that I might have missed before – Klout in HK has almost to no influence in the market… there are no local perks, no local events or even any advertising in the city, all my connection to the site and its influence over me/those I know, was by getting information on it and browsing through the internet, something that is the M.O. for most silicone (or there about) companies suffer from, in this part of the world (Asia, East Asia, China, Hong Kong – where we are based).


A month had past. It was the 3rd of June. At this point, things started to become complicated.

As we had just shot a short-film a few months back (Haexagon), we were needing @ HC to start pushing it online in our common social network channels. Having a different social/transmedia tactic than the previous product we had done at the company (Squattertown), the film wasn’t to be shown online, like most of what we do… it was to be teased with several types of videos (making of, deleted scenes, imaginative teasers and trailers, tests, sfx videos, pictures, events) until the film started being shown at local/international film festivals, to then, at a later date, us starting to figure/test out which monetizable, distribution channels might be interesting to pursue in the local market.
But… rather than being able to push those videos on my stream, I had to do it through the company Facebook page (HC) and that’s where some of the interesting differences between being a lurker, an active user and a Facebook page maintainer began appearing (at this stage there was no possible differentiation between me as a user and administrator at the page, something that since then has been changed on Facebook).


My strategy (if it can be called that) on my network of most influence (Facebook personal page) has always been – since I watch, read, go through so much virtual information every day, I should post only the best/most interesting videos/texts/pictures, I’d find through my morning rituals (a 2/3 hour “browse” through my immensity of bookmarks, favorite sites, rss feeds, twitter feeds and Facebook/Google+ walls) – this tactic was also to maintain at least a following that when I’d post my personal/professional projects, they’d be interested in watching them since I’d have been curating my channel for a while. 

This of course, had to change drastically on my influence over the page (Haexagon Concepts Page, not my own), having to be more contained and cautious over what was divulged, advertised or pushed through HC. At first it was extremely complicated because as an impulse, the moment I’d see a good vid/text/whatever, I’d immediately go towards the share/like buttons that are readily available in most sites and having my face “covered” I couldn’t do anything… most content being completely different from what should be posted on our company page, this of course created a lul in my attitude. But, after a while, I learned to contain (relax rather), over what should be pushed online, having more fun over what was readily available through my sources and seeing how they’d become available on my personal streams, trying to figure out how/who/when/for what they’d appear online.

I digress…


Let’s get back to the results:

So…. 1 month had passed:
What was I still you may ask? A Specialist… no change there. I was still Focused andConsistent.

Still, I got 1 new topic:

8 Topics – Photography, iPhone, Macau, YouTube, Hong Kong, Films, Entertainment, Cannes

Apparently I became rather influential on Cannes (funny as the only thing I’ve ever posted on Cannes was that a Portuguese kid had won a short film award there a few years back… and it wasn’t even at Cannes… it was at Cannes Lion)

Thee expected, of course, started happening (mathematics is of course, rather predictable and converting human interactions/actions into algorithms, like in every social/natural science makes us humans and what we do, mere variables in vast calculations… don’t know if I should be fascinated by this… or like with everything that can be manipulated according to “higher callings” – weary…)

On the 90 day analysis (so between my last postdate and this one) I had reached a peak of 57 on the 10th of May – almost a week where I’d been radio silent coincidentally. My score at the time of analysis was at 53.14.

In Twitter I had 7 Retweets, 64 Mentions, had lost 2 Followers – now 79, but had kept my Following the same – 353.

On Facebook the numbers started becoming weird (or rather, very variable). I had 260 Comments (down from 265, which means that for a 1 month period where I was inactive, in the 90 day counting system at Klout, I had only commented 5 times less…. like I said… weird…). I had 613 Likes (lol) and had received 50 Wall posts, 6 down from the previous month and in the 90 day stretch this would make, in my rather un-mathematical observation, rather similar between being active and inactive.


If you’ve noticed a pattern, yes… my thinking of the 90 days of inactivity is intimately connected with the 90 days it takes the Klout computers to assert their calculations. 

By this point Klout also started integrating Google+ and Linkedin in their calculations but they only started presenting my results from my Google+ account.

During my first month of inactivity, I had 1 +1s, 0 comments and 2 reshares. Rather pointless statistically but we’ll continue this further down the next posts.

At this point in time, my true reach – reached the enormous hights of 1284 @ 11/05 but had gone down to a still rather flattering – 895 people reached.

My Amplification reduced drastically to 32 and my Network Impact was 42 (having had a Highest point @ 48.33).

So a little dip in my stats, but nothing to worry (or even to almost note about)

My Klout friends for which I had any influence, just like me, also slowly started to dip down so… I just gave my dip to a “general inactivity” on the networks I use.

Their numbers:

People I Influence – Marco Sparmberg – 52 (Down from previous momth)

Mariana Silva – 47

Alexandra Ferreira – 43 (New user so for now, irrelevant)

Rui Abreu – 40

Jenson Cheung – 22 (I stopped being influential to him, so his score was the same)

Huang Jianhong – 14 (Another New user so for now, irrelevant as well)

First take back from my analysis… it’s not just how I’m affected by my inactivity in my network… it’s how it affects everyone around me (rather egotistical I know…).

Those who influenced me also started to change (although slightly)

Influences –  The Hollywood Reporter 75 (Rather predictably, stopped being influential to me)

Casey Lau 64 (Down)

Juergen 60

Andrew Leyden 57 (Down)

James Marsh 56 (Stopped being influential)

Kevin Ma 48 (A new addition)

Marco Sparmberg 52 (Down)

Angelo Costadimas 51 (A new influence)

Paul Fox 40 (Down)

Sean Tierney 38 (And another New influence… funny how they became it, only after I became innactive… hmm…)

So… first conclusions for the first month of lurking through the internet social circles:

There was in fact a dip, but it was either insignificant, or unnoticeable in accordance to what almost everyone else suffered in my network.

My reach is decreasing and therefore, certain “channels” of communication between me and my network are closing.

Lastly, some of my online habits had to be adapted/changed drastically so… at least for the first month of tests, I’d consider it a success.

Other than these 3 points… no big achievements:


Join us next week for month 2 of this “odyssey”.

Part 1

Part 2