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Friday, April 15, 2011

Assignment: The History Game

This is part of a series suggesting different ways to use Moviestorm in schools or other educational environments. They also make useful exercises for film-makers wanting to develop and practice different film-making techniques. Many more lesson plans and ideas, with free downloadable resources, can be found on the Moviestorm Web site.

Assignment: The History Game
Create a TV quiz show based on a specific theme, period, or topic.


Suggested techniques
Include picture and video rounds for added interest.

You can choose a variety of styles of quiz show: a single player against the clock, team games, and so on - copy your favorite show or make up your own format!

You can have a variety of styles of question: they needn’t be simple questions and answers. Try multiple choice, word games, or even charades.

Wrong answers make it more interesting.

Add appropriate background music to create atmosphere, and ensure you have a striking title sequence.

For teachers: benefits to students

  • Writing the questions is an entertaining way to do research.
  • Writing wrong answers and having them corrected is an excellent way for students to demonstrate that they are aware of common misconceptions. (For example, “who designed the first automobile?” “Henry Ford.” “No, he was responsible for the first mass-produced automobiles, but they had been around for a long time before then. Over to the other team for a bonus point.”)
  • This makes an excellent group project, particularly if the team game approach is used.


  • Ages 14+
  • Suitable for groups
  • History, politics, current affairs

Downloadable resources

Click the link to download a Moviestorm movie template.


Installation instructions:

Download the file and extract the zip folder to this location:


Vista, Windows 7, Macs: [Username]/Moviestorm/Movies


Windows XP: C:/Documents and Settings/[Username]/Moviestorm/Movies

(0) Comments | Permalink | Posted by Matt Kelland

Thursday, April 14, 2011

Crowdfunding your movie

When you’re making a movie, money helps. You can do a lot on no budget, but as Hugh Hancock pointed out, there’s a huge difference between no money and some money, even if you’re not talking about vast sums. One answer is crowdfunding - in other words, getting your audience to pay for to to make your movie.

This is starting to work quite well, even on big budget movies.  Here’s an extract from Jeff Steele’s Film Closings blog:

“The masses that democratized film production are now demanding a democratization of film financing. This natural evolution started with the aptly named “Age of Stupid”, a small indie film that crawled out of the primordial ooze of conventional finance and eventually became the first film to successfully use the internet to solicit production capital from the masses. The idea germinated in 2002, but the producers didn’t start sourcing money from the crowd until 2004; by November 2007, they’d crowdsourced over half of their 500,000GBP budget. The film was completed in 2008, released in 2009, and the crowd received their first profit shares in 2010. Since then, crowdfunding has continued to adapt to the increased accessibility of digitalization, with a running leap in 2010 with the launch of dedicated crowdfunding sites like IndieGoGo and Kickstarter. These gifting sites accept funds on behalf of a film project, and once they meet their fundraising goal, the cash goes to the filmmaker, allowing a film to get made.”

Read more

And here’s another extract, this one from Peter Broderick’s Distribution Bulletin:
Crowdfunding has taken off. The most successful film projects are now raising hundreds of thousands of dollars, when not that long ago they were raising tens of thousands. The top three films in the Kickstarter Hall of Fame are BLUE LIKE JAZZ ($345,992), THE PRICE ($161,774), and I AM I ($111,965).

Read more

Those, however, are just the high profile projects. Crowdfunding works just as well, if not better, for tens of thousands of small movie projects.  Maybe just a few thousand, or even a few hundred dollars is all you need. That could easily be enough to cover the cost of a new hard disk for all those video files, a better graphics card, a sound effects library, or maybe some semi-professional voice talent. Here’s a typical example: “La Fleur de Mort” : An Experimental Horror Film raised $2400 through Kickstarter, and will now be completed. From personal experience, I watched several film students at Full Sail University in Orlando raise between $1500 and $3000 each for their end of year projects via Kickstarter.

However, it’s not just free money.  Most attempts at crowdfunding projects don’t succeed. Figures vary, but estimates are that only 10% - 30% actually get the money they’re after. Here’s how to stand out in the crowd.

1. Have an interesting pitch

This kinda goes without saying, but it is, without a doubt, the single most important thing to think about.  What makes your movie special?  In order to be successful at raising money, people have to look at your idea and think, “I want to see that movie so damn much that I’ll give money to a complete stranger in the hope that it’ll be as good as it seems.”  That’s a lot to ask.

I’ve backed four movies in my life, each for between $20 & $50. Two were by filmmakers whose previous work I liked (Iron Sky and The Whisperer in Darkness). The others - neither of which actually got made - were a film about Paracelsus, and a sci-fi movie based on Eric Frank Russell’s Wasp. I backed them because I loved the idea, I loved the story, and I couldn’t see those films getting made any other way. I felt like my contribution would really make a difference.

If all you’re proposing is a generic gangster or zombie movie, I wouldn’t back you. There’s plenty of those around already. But a zombie gangster flick? That’s a bit different. The Moran gang come back to life after the Valentine’s Day Massacre and seek revenge on Al Capone?  That could work. (You heard it here first, folks. Who’ll back me?)

2. Have good assets

It’s not enough to have a good idea. You have to present it well and look like you know what you’re doing. There are plenty of books and sites about how to pitch a movie. Read them, take their advice, and spend time making your movie look as attractive as possible.

You’ll want a trailer at the very least. Even better, back this up with stills, synopsis, concept art, a downloadable script, production blog, cast and crew bios and photos, music samples, budget, production schedule and the like. You can’t get all of this onto your Kickstarter page, so set up a Web site, Facebook page, Twitter account, and so on. If you don’t have these things, then you’re probably not ready to ask for money yet. Backers will want to look around and be sure they’re investing in something that’s really happening, not just a pipe-dream.

And make sure that everything is as well presented as possible. If your presentation looks sloppy, people will assume your movie will look sloppy too. There’s no excuse for typos, poor punctuation, or bad grammar. Get someone to help you out with those if necessary. Make every image look as cool as possible. Lay your Web site out with style and panache.

3. Make it clear what you want money for

People will be more likely to give you money if they can see why you need it, rather than a vague “I need $2000.” Be prepared to justify why you can’t use cheaper alternatives - why can’t you use free creative commons sound effects, for example? It’s a good exercise anyway - if you can’t prove you need to spend the money, then you probably don’t need to spend it.  You don’t have to put it all on the appeal page - put a budget on the Web site. It’s the kind of thing people find interesting and shows you have thought about what you’re doing (see above).

You may be surprised what people will fund. One of the students I mentioned raised $1500 for on-site catering.  His rationale was simple. He could tell his cast and crew to get their own lunch and drinks, but he knew from experience what would happen. Some people would be late back from lunch, and afternoon shooting would be disrupted. Someone would go off to Starbucks to get coffee thinking they weren’t needed, but then something would happen, they wouldn’t be around, and everything would be delayed again. He was on a tight five-day shooting schedule, and couldn’t afford to waste time standing around. He needed everyone on set.  So $10 per day, for 30 people, for 5 days - well worth it to ensure shooting was finished on time. Other filmmakers understood exactly why this was important, and were happy to contribute.

4. Offer cool rewards

Some people back films just for the pleasure of seeing them made, and because it makes them feel good. However, a little enticement goes a long way. The more they offer, the bigger reward they get. Be creative with this. Sure, you can give them a free DVD of the movie and put them in the credits. That’s pretty much a bare minimum. But what are you going to give the people who give you more than $20?  How about a T-shirt? A part in the movie (or a namecheck if they don’t want to act)? Signed copy of the screenplay? Membership to some special behind the scenes production group?  Props from the movie?

5. Have a cunning finance strategy

The thing to remember with crowdfunding is you get all or nothing, so set your goal achievable, rather than too high.  It’s quite common to go over target, as this Kickstarter post shows.

“Many projects on here exceed their stated goals, earning 110% to 150% of their original need. Additionally it is important to remember that about 8% of the funds we have raised will be used to cover credit card processing expenses as well as administration fees incurred by using Kickstarter and Amazon.”

People like to fund successful projects, so as you get closer to your target, it’s easier to attract the last bit you need.  The first bit is the hardest. People would far rather contribute to a $2000 project that has $1000 from 15 people, than a $1000 project that has nothing.  What you effectively do is to fund it yourself.  When you open your appeal, get all your friends, family, cast and crew to pledge, even if you have to give them the money yourself.  (Note that you can’t actually pledge it yourself. Don’t try doing it through fake accounts either; they’re set up to detect that sort of trick. And don’t even think about pledging and not paying - if you don’t make that payment, Kickstarter may well decide your project wasn’t funded, and make you give all the money back to everyone.) Of course, you can’t just make up any old numbers. You have to be able to justify the higher figure.

It’s not a bad thing either. It shows backers that you are putting your money where your mouth is, and that you’ve exhausted all your personal contacts. That shows that you, and the others involved in the movie, have faith in it, and that generates confidence.

6. Reciprocate

Like any community, it works best when you give as well as receive, and it works well if you pay in a little to get something back.  If you contribute a bunch of films, you’re creating yourself a network of filmmakers who are already well-disposed towards you, and you’re building up a reputation for someone who cares about something other than their own movie.  Take this guy, Eric Striffler, for example.  He’s backed 24 films, and is now raising money for his own projects.

“I’m a 20 year old filmmaker from Long Island, NY. I love funding unique projects. It makes me happy.”

Read more

If you’re thinking of crowdfunding your movie, then make some investments first. It’ll be worth it. And, of course, you can always brag to people that you finance movies as a hobby!

7. Market yourself

This should be obvious. However, remember that you need to start your marketing before you open your appeal for funds. You only have a limited window to get the pledges, so you need to have as many people fired up as possible before you ask for money. Promote the hell out of all your pre-production material, and make sure everyone knows that you’re going to be launching an appeal at some point.

Use every avenue at your disposal: Facebook, Twitter, your blog, and email, just for starters. Make a noise every time someone donates to you - thank them, and tell your supporters how close you’re getting to your target. Get your friends, family, cast and crew involved.  Beg everyone you know to pass it on to their friends. Find forums where you can promote yourself. Print up fliers and hand them out on street corners or film festivals (no, I’m not kidding, I’ve seen it done, and I’ve seen it work). Do whatever it takes to make people find out about your movie. Once you open your appeal for funding, you’re against the clock.

These tips won’t guarantee you funding, but they’ll make it a lot more likely. If it doesn’t work, take a long, hard, brutal look at your offering, change what needs to be changed, and try again or start over.

Good luck!

(6) Comments | Permalink | Posted by Matt Kelland

Wednesday, April 13, 2011

Featured movies - April 2011

Picking this selection of featured movies turned out to be much harder than expected. We’ve had some amazing movies recently, and we ended up with a shortlist of twelve to choose from, mostly based on your recommendations.  Several of them were quite long - most are over ten minutes, and one was nearly half an hour - so it took longer than usual to watch them all and come to a decision.  In the end, we decided to pick five now, and there’ll be another selection of five in a couple of weeks. We didn’t necessarily pick our top five. Instead, we went with a broader selection that has something for everyone, and we’ll do the same again next time.

Anyway, grab yourself a drink and some snacks, fire these up on the biggest screen you can get, and enjoy these five movies made by Moviestorm users.

Let’s kick off with Infected, by kv. Many people, including both staff and Moviestormers, have described this as the best Moviestorm movie yet. KV describes it as “footage that has been recovered from the aftermath at Healey Pass, a town destroyed by infection created by man.” The camerawork is first-rate, very much in the style of a first-person documentary shoot or war reporting. In places, it’s genuinely terrifying. Possibly the best praise comes from kibishipaul: “There are so many things I’d like to praise about this movie, but I’m going to stick to the one. The restraint you’ve shown. There were so many ways you could have gone with this, but you’ve held back from the typical shocks and gore to give a film that is gripping and scary enough to give me sweaty palms.”

Matt Martin’s Robot Remote is a glorious spoof commercial. Matt doesn’t make a lot of movies, but when he does, they’re worth catching. He created this one as an entry for PapaG’s Hand Held Props competition (still open until May 6th). It’s sharp, it’s funny, it’s well made, and it’s just 60 seconds long.

Staying with comedy, The Non Adventures of Roger and Mark is developing into a wonderfully absurd show. Here, in Episode X, Roger enters his own personal hell. This is bizarre, twisted, demented comedy genius, starting with a sequence that can only be described as St Patrick’s Day gone surreal.  If you haven’t seen any of these yet, go back and watch the earlier ones.

And more comedy, but in a very different style, here’s a spin-off from Star Wreck, the Star Trek parody show from PapaG. Astralbattlephobia (Captain’s Dream) won’t make much sense if you haven’t seen the rest of the series, but don’t worry. This one’s full of Star Wars references, and includes a wonderful dream/music sequence, which starts about 90 seconds in. That’s a lot of fun, even if you have no idea about the plot.

And finally, we have the start of a promising new sci-fi series. CAD Valhalla S1E1 has a well-written script, great music and sound, cool sets, understated yet effective visual effects, and a first-rate cast of machinima stalwarts. Captain Nikoli is taking his new ship out on what should have been an uneventful shakedown test, but things don’t work out like that. It’s a bit slow in places, and at 20 minutes, it’s considerably longer than most machinima series. However, right now we’re just getting introduced to the characters and the setup, and this will all pay off in later episodes. We’re very much looking forward to finding out where this goes, and we hope the next ep won’t be too far off.

And that’s it for now. We’ll be back shortly with more movies for you.

Congratulations to everyone who got featured.

(0) Comments | Permalink | Posted by Matt Kelland

Tuesday, April 12, 2011

Write Better Movies

Last week I reviewed Phil South’s ebook Let’s Write A Story. His second ebook, Write Better Movies, is focused purely on filmmakers.

Phil’s been teaching writing for many years and he spent most of the last decade teaching film students. He’s distilled the essence of his writing course into this very short, accessible any easy book. Phil starts with a premise from one of his favorite directors, Alfred Hitchcock. A movie needs three things, a good script, a good script, and a good script. Without those, you’ve got zip.

Drawing on the thousands of films he’s watched, Phil analyses what makes a film good or bad. Yes, there is the concept of “so bad it’s good,” but even then, you need to understand what it is that actually makes it good, rather than “so bad it’s unwatchable”.  He boils this down to a simple set of rules and the mnemonic CHIME: characters, humor, intellect, meaning, emotion.

The last part of the book gives you ten simple tips for making better movies. They’re all mostly common sense, but it’s useful to be reminded of them. For example, dialogue is a conversation. It’s as important to listen as it is to speak, and you need to show this in your movies. Visually, that means reaction shots, but more importantly, it needs to come across in your writing. People need to be affected by what the other is saying, and the conversation needs to flow naturally. Watch bad movies, and you’ll soon learn to spot writing where the characters are just talking and not listening.  Of course, sometimes this is what you want - in the classic Jack Lemmon comedy How To Murder Your Wife, there’s a great scene where he’s trying to get a divorce, but his lawyer, his doctor, his lawyer’s wife, his secretary, and his own wife are all ignoring him and trying to get him to make a new will, get insurance, organise a shopping trip and so on. That’s fine for screwball comedy, but the rest of the time, it simply doesn’t work.

Write Better Movies is available on Kindle for just $1.99 from Amazon, but if that’s too much for you, you can get it free for a limited time directly from Phil. Subscribe to his free Creative Genius newsletter, then drop him a line, ask for the book, and he’ll let you have a copy.


(2) Comments | Permalink | Posted by Matt Kelland

Monday, April 11, 2011

Assignment: Travel Channel

This is the first article in a series suggesting different ways to use Moviestorm in schools or other educational environments. They also make useful exercises for film-makers wanting to develop and practice different film-making techniques. We’ll be adding more of these on a semi-regular basis, covering as many different subjects as we can, and suitable for as wide an age range as possible.  Please feel free to pass this around to other teachers, and if you use this in a classroom situation, let us know how you get on and how your students react.  Many more lesson plans and ideas, with free downloadable resources, can be found on the Moviestorm Web site.

Assignment: Travel Channel
Create a short film about a particular region or place.


Suggested techniques
You can do this using an on-screen presenter, or completely with voice-over.

Intersperse the presentation with still images and video if appropriate. You could do this as a studio presentation or lecture, and display the images on a screen behind the presenter, or else you can make the images go full-screen.

Add extra content on-screen by using text to complement what you’re saying.

Add appropriate background music to create atmosphere, and ensure you have a striking title sequence.

For teachers: benefits to students

  • Adding multimedia content enables the student to approach the subject in a richer way than just using written text and still images.
  • Finding images and music to enhance the presentation requires detailed research.
  • Providing narration builds confidence in speaking without needing to do it in front of an audience or camera.
  • Creating a multimedia presentation helps develop presentational skills and requires the student to consider what information is best presented using the different media: spoken, written, or visual.


  • Ages 12+
  • Geography, social studies, current afffairs, modern history, modern languages


(1) Comments | Permalink | Posted by Matt Kelland

Friday, April 08, 2011

Ethnic diversity in machinima

I keep reading articles about the lack of opportunity for ethnic minorities in the mainstream film and television industries in America and Britain. This year’s Oscars is seen by many as a snub to black people, with not a single nomination for any of the major awards, There’s a widespread perception that there are very few leading, or significant roles for Asians or Latinos, and even fewer directors. Check these out:

Obviously, there are exceptions: Ang Lee, Spike Lee, Will Smith, Jessica Alba, M. Night Shyamalan, and Antonio Banderas, to name but a few. And there are shows like The Bengali Detective, recently picked up by Fox. The studios say they’re simply choosing the best actors and directors, and it’s not their fault if there aren’t enough non-whites coming through the system. The producers blame the writers, and say they can only cast the roles they’re given. The writers blame the studios and say they’re writing the scripts they can sell. Whatever the reason, it seems to be a vicious circle.

However, let’s step away from the world of Hollywood and the major TV networks and look at amateur and low budget movies. When you’re working with no budget, a whole bunch of problems that beset professional movie-makers simply go away. You don’t have a marketing team riding roughshod over your production, telling you what you need to do to make your film saleable. You don’t have to work your way through agents and flunkies to try and catch the eye of backers or buyers. You make your film, the way you want it, and you put it out directly to your audience.

Machinima would seem to open up opportunities for film-makers from a diverse range of backgrounds. As a machinimator, you don’t have to conform to any norms at all, either in your movie or your personality. You can be yourself, and make whatever movie you like, without any interference. Since you’re working online, you can hide behind a pseudonym and any avatar you like.

imageDirecting and writing

Anyone can pick up a tool like Moviestorm, Muvizu, iClone or Second Life, and simply start making a movie. You don’t need to convince anyone to hire you, or try to be better than the other (white) guy. Just do it yourself.

What’s more, there’s no need to find yourself stuck within the stereotypical confines of what’s expected of you. Many black filmmakers and writers, for example, feel they can only make “black movies,” focusing on specific issues, and featuring a predominantly black cast, even though that’s not really what they want to be doing. As directors like Ang Lee and John Woo have proved time and time again, you don’t need to pigeonhole ethnic filmmakers in that restrictive way. Machinima offers you the freedom to do anything you like - so go right ahead and make period dramas, sci-fi, or whatever interests you.

On the other hand, if you do want to make a movie that does center around ethnic issues, or relying on a particular ethnic cast, then machinima provides a much more viable route for such projects than commercial independent films. A studio may not want to back a gritty film about life in urban Guatemala, for example. They’d quite reasonably claim there’s not enough market for it. But it’s the sort of thing that a passionate filmmaker can create and distribute on a low budget without needing anyone else’s approval. You can easily do it as a personal project, targeting a very small, niche audience.


One great advantage of machinima is that you can create any character you like with ease. If you want the hero of your cop show to be Indian, then you can do it. You don’t even need to find a voice actor with a heavy ethnic accent. Many British Indians, for instance, don’t sound at all like stereotypical Bollywood Indians. So just create the character, and find a voice that works well.

By contrast, if you’re an actor who does have a strong ethnic accent, you can also use machinima to your advantage. Create a clip reel showing what you can do, and how versatile you can be. Don’t just settle for the “assistant at the convenience store” or comic roles. Do some action parts. Do some romantic parts. Make people realise how interesting your voice can be, particularly when matched to different faces. Get with a writer, and get them to write parts for you.

The real story

Surprisingly, though, there are very few filmmakers from ethnic minorities working with machinima. The overwhelming majority are white (and, incidentally, mostly male, English-speaking and heterosexual). In the Moviestorm world, we have a few that I know of, all of whom operate under pseudonyms, such as: act3scene24 (Jorge Campos, who’s Mexican), ehughes and reshonda (Erica Hughes and Krystal Blake, who are African-American), and newcomer shaman (Mohamed Shahidi, who’s Moroccan). We’ve also got some enthusiastic filmmakers in the Pacific island of Vanuatu, based at the Wan Smolbag Theatre.

It’s intriguing, and a little disappointing, that machinima hasn’t been embraced by a more diverse range of filmmakers. The tools are cheap and widely available, so that’s one major barrier removed. The online world offers a chance to sidestep any institutional prejudice. Direct distribution allows filmmakers to make what they want without having to conform to stereotypes or genres. Yet despite bringing down as many barriers as possible, it just hasn’t happened.

We’d love to see more movies from as many different people as possible. And we’d love to hear your ideas on why machinima seems to appeal to such a narrow spectrum of potential film-makers.

(3) Comments | Permalink | Posted by Matt Kelland

Thursday, April 07, 2011


imageThis screenshot doesn’t look like much. But that’s because it’s not a still from a movie.  It’s a screenshot from a test of a game made with Moviestorm, created by modder and filmmaker Andy “Zordork” Price.

It’s a very simple point and click system: you click on things, and your character does stuff. Admittedly, in this little test version, all you can do is sit on the chair or leave through the door, which isn’t particularly exciting. However, what is cool about this is that it’s the first time we’ve seen someone create an interface where you can click in the app, instead of picking options like a Choose Your Own Adventure game. It’s like a super-streamlined version of Moviestorm itself, where instead of being able to interact with pretty much anything, the game preselects some options for you, and just gives you those.

We’re fascinated by the way people are using Moviestorm to create games. It’s slightly ironic, in that Moviestorm was born out of a desire to create machinima software that wasn’t based on a game engine, but there you go. Last year, we saw how Robcar Games and others were using Moviestorm and Adventure Maker to create simple games such as The Choice. Before that, there was Jason3’s Alien Attack, which worked like an old “choose your own adventure” game. There are 22 short clips, and at the end of each one, you have to choose which clip to watch next to advance the story. It sort of works, but it isn’t the seamless gaming experience people expect these days, since you have to wait for a Web page and a video to load each time you make a choice. The links are also external to the movie, so you can’t play it full-screen and as a result, it all feels a little disjointed.

This, however, is another big step forward in creating a more flowing user experience. We’re intrigued to see what Andy comes up with.

You can try it for yourself here. (Works for Windows 7, can’t promise how well it works on other platforms.)

(0) Comments | Permalink | Posted by Matt Kelland

Wednesday, April 06, 2011

Let’s Write A Story

One of the great advantages of ebooks is that it’s cost-effective to produce really low-cost books for niche audiences. More and more authors are writing very short pieces, which they can sell for a few bucks to a small number of people without going through a print publisher.  Let’s Write A Story by Phil South, is one such - short, punchy, easy to read, and good value. In fact, it costs less than the gas to get to a free one-day writing course.

One problem all writers and filmmakers face at some point is how to come up with an interesting story. We sit in front of a blank screen, wondering what’s going to happen. We have the urge to create, but there’s nothing happening. This book helps you address that. Interestingly, Phil doesn’t start by telling you to be original. On the contrary, his approach is to show you how to adapt existing stories into something fresh and new - which is what nearly all writers do anyway, even if you don’t realize it! It’s a technique he’s used many times when teaching filmmaking and writing, and it never fails to get people coming up with ideas.

The example he takes is turning the classic film The Cat And The Canary into a sci-fi horror film. He takes you through step by step, showing how you break down and reconstruct the key story elements. It’s only concerned with plot, not scriptwriting, so what you end up with is a story, not a screenplay. He also looks in detail at the characterization, so that you end up with believable, interesting characters who fit into the context of the story, not just one-dimensional stereotypes who act from simplistic motives.

The book is already receiving acclaim from experienced writers: author Nick Daws said “Let’s Write a Story sets out an unusual but effective method for creating an original story from a familiar starting point. If you love to write fiction but have trouble coming up with compelling plots, Phil’s suggested approach – which is described in detail here – will amaze and delight you. After reading the example plot Phil created using this technique – which could easily form the basis for a publishable screenplay or novel – I could hardly wait to try out the method for myself!”

Let’s Write a Story is available on Kindle from Amazon price $2.99 (US) or £2.12 (UK), or as PDF or ePub directly from Phil’s Web site for £1.99

(4) Comments | Permalink | Posted by Matt Kelland

Monday, April 04, 2011

Win Moviestorm software for your school

To celebrate the launch of our new Moviestorm Education package, we’re giving away £5,000 worth of software in an exclusive competition for Schoolzone users.

To enter the competition to win a year’s access to Moviestorm Education for your whole school worth £1000, simply go to the Schoolzone site,watch the videos and spot the difference. It’s that easy!

(0) Comments | Permalink | Posted by Matt Kelland

Saturday, April 02, 2011

Try Moviestorm free for longer

The free trial period for Moviestorm has been extended from 7 days to 14 days.

We appreciate that there’s a lot in Moviestorm, and so you’ll want to take a little more time to play with it and check out the tutorials before deciding whether it’s right for you, and which package and payment plan will suit you best.

Try out any of our theme bundles, or get the complete pack. You can also try out any content pack, free, for 7 days, even during your free trial.

(0) Comments | Permalink | Posted by Matt Kelland

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