Ostrick supervised a team of seven, including editors, producers, graphic designers.  The original online content was viewed by over 100 million video people and was featured on the Today show, Good Morning America, Fox, MSNBC, and hundreds of other traditional and online outlets.

One World One Ocean’s YouTube Channel

Awards & Recognition

Since 1993, America’s “inner space station” has helped us understand the disappearance of coral reefs, train NASA astronauts for space and research sea sponges, the source of two cancer drugs. The discoveries made at Aquarius have opened our eyes to how little we really know about the vast complexity of the ocean. It is one of the planet’s most important brain trusts, and it is about to be closed.

MacGillivray Freeman’s One World One Ocean Campaign created an intensive media engagement effort to shine a light on the world’s last undersea research station and created a firestorm of national and international news pieces – placing the lab on the national agenda.

IMAX, RED, GoPro and DSLR cameras were used to capture the beauty of this special place.

The Spark Series is a collection of short documentaries that were shot using HD consumer video equipment.  The series demonstrates the application of emerging tech tools empowering the creative process of communication. The series presents conversations with filmmakers, technologists, writers, producers and other thought leaders about the rapid shift in the media landscape.

Part 3, OPEN

Leo Laporte has carved out a nearly idyllic existence here in the land beyond Silicon Valley. He launched his own network and streams over a dozen “Netcasts” each week, live from the TWiT Cottage. Surrounded by the latest in tech, a superb staff, and the support of thousands of devoted geeks, Laporte is proving that you can build community from nearly anyplace. He is more than capable of generating capital with revenues currently north of 1.5 million – that number has been doubling annually, and will likely continue to increase.

Advertisers are finding that Laporte’s audience is far more engaged than the audience of traditional, main stream media. One reason for his success is that Leo has consistently focused on the humanity of technology. He believes that tech should move us forward, empower bold ideas, and be accessible by all.

Appearances by:

Leo Laporte, TWiT / Marc Ostrick, Co-Founder, eGuiders / Michael Sean Wright, Director, nicefishfilms / Erik Lanigan / Tony Wang / John Slanina / Travis O’Donnell / Dave Sampson / Stuart Hiland

PRESS:

• Premiere on TWiT.tv – December 6, 2009
• digg.com
• World Tourist Destination
• Tumblr
• ConvinaBob
• COD4 Boards
• Mobile +
• pengwing’s posterous
• Spudart
• z as in zebra, By Daniel Zarick
• TC3HH3LP
• KRU Stuff: Leo and His TWiT Experiment
• SiliconANGLE
• Joel Housman Blog

WHAT PEOPLE ARE SAYING:

“Now that IS the best video about TWiT ever!!  Game changers, changing the game right in front of their faces, and they don’t even realize it!!”  (inside.twit.tv user ET)

“Now I’m under the impression that if we lose our Neutrality, we’ll lose our TWiT… that is not acceptable.  Very nice production and editing… will be looking for more OPEN…” (YouTube user leroco1958)

“Watched this video almost right after Leo tweeted about it.  It’s a great video and tells you a lot about the TWiT network and how Leo thinks.  Thanks for the great work on the video.”  (inside.twit.tv user kim landwehr)

WATCH ALL FOUR EPISODES OF  THE SPARK SERIES:

GOING LIVE 1.0, OPEN, NOT ANOTHER TWITTER CONFERENCE and THE NEW DIAL TONE.

“24 Exposed… One of the best behind the scenes featurettes I have ever seen on a DVD of any kind, 24 Exposed is one of those bonuses that justifies the entire price of the set.” – DVD Talk.com, Shannon Nutt

“Freakin’ awesome!! This is the best special feature on a DVD I’ve seen since I started this site.” – TV SHOWS ON DVD.COM, by Gord Lacey

“This is one of the most thorough behind-the-scenes documentaries I have ever seen for a television series. It covers everything from the cut-throat casting process (Hollywood is rough even for bit players) to the producer’s efforts to keep secret the season’s final scene by shooting a fake sequence to throw off the extras who might blab.” – DVD VERDICT, Judge Mike Pinsky

ABOUT 24 EXPOSED – from Diane Werts

Crafting DVD extras is becoming an art form all its own, with creative filmmakers beginning to specialize in the genre. Fox TV’s thriller “24,” for instance, devotes an entire second-season disc to background features, led by a 90-minute cinema verite portrait of the month-long production process for the season finale.

Portrait director Marc Ostrick shadowed “24″ producer-director Jon Cassar as his finale faced location problems, script modifications and other challenges. His lively movie echoes “24’s” visual style with split screens and time graphics, yet reflects a distinctive humor and the crew’s personalities. While casual fans can enjoy its fly-on-the-wall intimacy, information flows about details, down to color temperature in lighting.

In his “24″ feature, Ostrick visits everybody from star Kiefer Sutherland to the costumer to the weapons expert showing off his stunt guns. “You never know who’s going to have the best story,” he says. “And all the jobs are really integral to the process.” DVD validates that.

AWARDS:

WINNER: BEST FEATURE ON DVD AWARD, TV ON DVD CONFERENCE
NOMINATED FOR BEST TV DVD SPECIAL FEATURE, DVDX AWARDS

24: Conspiracy was the first live-action drama created to premiere exclusively on mobile phones. A spin-off of the hit show 24, Conspiracy was nominated for an Emmy Award for best Interactive Programming and was a winner of the Mobile Entertainment Forum (MEF) Award in 2005.

Released in 24 one-minute increments, the events take place at a CTU in Washington D.C. CTU agent Martin Kail (Dylan Bruce) is called in to investigate when former lover and fellow CTU agent Susan Walker (Beverly Bryant) kills a DOD official.

Can you see me now? Say hello to cell TV
The next big thing in broadcasting is actually quite small – and it’s coming to a cell phone near you

By TAMARA CHUANG
The Orange County Register, Sunday, May 8, 2005

On the first day of shooting a spinoff of the popular “24″ TV show, director Marc Ostrick kept a sense of secrecy on the set, telling the unknown actors very little about the final product. The scripts were just one or two pages per episode. And the whole season was to be shot in seven days.

Three months later, the new series, “24: Conspiracy,” began airing – on a 2-inch screen.

“They knew it wasn’t a normal pilot. The scripts came out, Minute 1, Minute 2, Minute 3,” said Ostrick, who works for Sparkhill, a film production company in Burbank. “We just mentioned that this was a pilot and left it very ambiguous. The actors were just so happy to work.”

A new 60-second episode drops every Monday, but only to subscribers of Verizon Wireless V Cast service, which debuted in January for $15 a month.

As cell-phone companies search for new features to make more money from customers, TV has been tapped as the next cell-phone craze. Sprint TV launched last August, while Cingular’s version, using MobiTV, debuted in January. Today’s video may look more like a fast-moving slideshow on a subpar TV. But technology is improving, and cell-phone companies and their entertainment counterparts are lining up to get a piece of the not-quite live action.

“The technology is so new, it’s like TV in 1948,” said Ostrick, hired by 20th Century Fox Television based on his documentary work included in the “24″ DVD.

“I think people are going to want this more than streaming Web movies. Every body has a cell phone. It’s a technology that is right in front of you.”

The companies that want this and are offering content include ABC, NBC, CNN, Discovery, ESPN, Cartoon Network, E!, Comedy Central, Nickelodeon and VH1.

And, of course, there’s Fox. Big time.

In addition to “24: Conspiracy,” which mimics the TV show but with unknown actors and different plots, Fox created mobisodes – or mobile episodes – from a soap-opera TV pilot and outtakes from “The Simple Life.” Live Fox News is available to Sprint TV users.

“We thought of V Cast as a way to reach more viewers for ‘24′ and ‘The Simple Life,’ ” said Lucy Hood, senior vice president of content and marketing for News Corp. who oversees Fox Wireless Entertainment Group.

“The idea of creating episodes for cell phones seemed farfetched to some, but what we found was that because it’s such a personal experience – you hold the cell phone 1 foot from your face and it’s a 1-minute episode – you could get a lot of story into it,” she said.

Mike Wellins, an independent animator whose short cartoons can be seen on the CellToons channel on Sprint, said filmmakers make films for an audience.

“As a filmmaker, we sing for our supper. Anywhere we can get someone to watch and want to see me, we go for it,” said the Portland, Ore., animator and author of “Storytelling Through Animation.”

Wellins left it to Tustin’s In-Fusio to shrink his cartoons to cell-phone size. Ostrick is pleased with the result, even though the video is more pixelated and the action jerky. He now keeps the 2-inch screen in mind when he works on new films.

“The trick would be to move things less. A motion blur would connect those actions,” he said. “Now it seems that it was a no-brainer. I feel really good to be in on the ground floor.”

A growing industry
Cell TV is just starting out, but one market-research firm already projects that this year, the industry will approach 3.2 million subscribers and $269 million in U.S. revenue, which includes monthly subscription fees plus charges from sending video e-mails. By 2009, revenue is projected to jump to $4.5 billion and subscribers to 31 million, according to In-Stat, a market- research firm.

“The cellular network is a two-way medium. It’s a more interactive network that viewers haven’t experienced, with polling and voting right on the phone. If you’re watching ‘American Idol’ (today) you still have to grab your cell phone to vote,” said Allen Nogee, principal analyst with In-Stat.

Nogee predicts we will see more cell-sized shows because the movie studios and TV networks are interested.

“No one wants to be left out of any medium. Regular viewership of TV has been going down, while other areas like the Internet has been going up,” Nogee said.

But producers may have an uphill battle persuading consumers to trade their big screens for the small screen. A recent In-Stat survey asked people if they were interested in TV on a cell phone.

“There was not a whole lot of interest, actually,” Nogee said. “It’s harder to view things on a cell phone. You have to hold it in your hand for so long.”

One thing is certain, said Hood, who oversees the wireless content for Fox: “Let’s just say that it is much, much faster and much, much less expensive to create mobisodes versus TV,” she said.

Behind the scenes at ‘24: Conspiracy’

After Fox green-lighted the project in October, Sparkhill rushed to produce 24 one-minute mobisodes of “24: Conspiracy.”

A script was written, actors hired and a crew assembled. They filmed on a sound stage in the Valley, and most of the time it appeared to be just another TV pilot in the works.

“The only difference being was we used very small digital cameras,” said Eric Young, executive producer and director and founder of Sparkhill.

Ostrick, co- director, would shrink the new footage on the editing system so they could see instantly whether the shot worked.

The original TV show has a lot of dark scenes. For the cell phone, which has limited colors and can’t offer the range of shadows of TV, the crew had to light up actors’ faces to avoid dark shots. They kept action scenes and movement to a minimum because a cell phone can’t process moving images as quickly as TV. And sometimes, they punched up special effects so they would be noticeable on the small screen.

“Because the image is really tiny, some of the effects had to look bigger, like the bullet hits on the walls. We were afraid it wouldn’t read on a cell phone, so we made them larger,” Young said.

Young believes that someday, cell- phone TV will be interactive and offer viewers an experience not available on a regular TV. A character, for example, could ask the viewer to call his cell- phone number during a mobisode.

Until then, Young and Ostrick would love to do this again, even if it means cutting the closing credits to fit in a few extra seconds of story.

“Just taking five to 10 seconds out of our run time is a good percentage of the piece. These had to be pretty exact,” Ostrick said, estimating that each episode runs 55 seconds, plus five seconds to identify the program and episode.

“What was the biggest surprise personally was how much story you could pack into a minute,” Young said. “I thought it was pretty fabulous.”

Super 8mm documentary footage of locals and iconic imagery from Imperial Beach and Tijuana are integrated into the opening credits sequence of the show and also used as elements in the online experience.

Check out the JFC Experience site for all the videos, web extensions and press reviews.

MISSION OF TRANSMEDIA DEPT.

To fulfill David Milch’s vision for the new HBO series John From Cincinnati, New Media Programming was committed to the development and production of compelling new media content for exhibition within the world of the TV show and on alternative platforms – broadband, wireless, and other developing technologies.

Recognizing that these alternative platforms are becoming themselves a legitimate source of entertainment, new media content provided JFC audiences with additional storylines and opportunities to deepen their emotional connection to the show by providing a space for a richer, more interactive and extended experience.

The JFC New Media Dept was committed to transcending the traditional marketing model that viewed new media content as a separate promotional vehicle for traditional media. Instead, the JFC New Media Dept worked to seamlessly extend the aesthetics and the emotionally fulfilling storytelling elements that were integral to the show to expand the John from Cincinnati universe to these alternative platforms. Ultimately, creating an exhilarating and unified experience for the show organically weaved into it merchandizing, marketing and promotional value.

Thanks to David Milch, HBO, and the cast and crew for the opportunity to be the first embedded New Media Dept for a TV series from pre production through post.

To learn more about John From Cincinnati, including information about characters, setting and plot, please visit the Wikipedia page.

Jump down the rabbit hole into the unprecedented wonderland of David Milch’s last season on NYPD Blue, the award-winning television show he co-created, wrote and produced for seven seasons.

As physical and creative exhaustion set in, and the lead time between shooting and air dates evaporate, Milch wrestles with his muse to write episodes as they’re being shot. This struggle forces the cast and crew to add a spontaneous flexibility to the already rigorous demands of production; in a process described as “getting Milched”.

David expects guest actors and series regulars alike to embrace everything from last minute line changes to reworking a whole scene. But his expectations of the cast and crew do not exceed the expectations he has of himself– to deliver the best work possible every time out. David Milch creates and runs his show with a jazz-like improvisational flair, in which everybody involved brings all they have to the play of the process.

AWARDS

Platinum Award for Best Documentary, Houston International Film Festival, 2001.

CREW:

Rita Stern – Producer
Marc Ostrick – Director/Camera/Editor
Felix Pire — Associate Editor
Danny Mordujovich — Music Composer
Aidan McGlaze — Post Production Assistant

SUBJECTS:

Steven Bochco
David Milch
Cast & Crew of NYPD BLUE

This feature documentary follows the filmmaker through the most harrowing ordeal of his life: preparing for, undergoing and recovering from his third open-heart surgery at the ripe age of 27.

And not only does Marc have to come to terms with his own mortality, he also has to deal with anxious divorced parents who haven’t seen each other in years. Making this film almost killed the guy.

53 minutes, 2002

FESTIVALS

Full Frame International Doc Film Festival
International Documentary Association’s “Doctober” showcase
Ojai Film Festival

DISTRIBUTION

Fanlight Productions

CREDITS

Produced, Directed and Edited by Marc Ostrick
Photographed by Adam Boucher
Associate Producers: Adam Boucher & Rita Stern
Additional Cameras: Ezra Soiferman, Felix Pire, Aidan McGlaze, Amelia McPartlon, Ben Boodman
Associate Editor: Felix Pire
Music by: Gregg Fine & Michael L’Acqua
Sound Mix: Michael Geisler, BadaBing! BadaBoom! Productions
Animation by David Criley
Heart Sounds Recorded by: Dr. Michael Criley
Cover art by Bernard Chang

SUBJECTS

Michele Ostrick
Gil Ostrick
Rosaleen Ostrick
Dr. Hillel Laks
Dr. Welton Gersony
Dr. Denton Cooley
Dr. Joseph Perloff
Pam Miner, RN
Jeff Gross, Medtronic
Dr. Cahill
Keith Miller
Adam Ross
Roz Frankel
And yours truly, Marc Ostrick

A FEW STATISTICS

25,000 people are born annually in the United States with congenital heart defects. Every year, 5,600 people, mostly infants, die from congenital heart complications. Only in the past 30 years, since the mid-seventies, has open-heart surgery been a viable and widely accessible option for people with congenital defects. Even today, it is a procedure which, though frequently performed, requires the highest levels of training and performance.

The human heart has been known to pump for a hundred years without failure, resting less than a second between contractions. It is a miracle of evolution, an emblem of endurance and a symbol of potency. The heart pumps life through our bodies and feeds fuels to our minds. Too bad mine was busted.

“The major gem of this collection is Breaking 315, an 80-minute documentary that offers a complete overview of the creation of the season finale On Tilt. This documentary stands as one of the great extra features I’ve ever witnessed in the DVD medium.” – Digitally Obsessed, Dan Heaton

“The high point is the “Breaking 315″ making-of documentary. This 90-minute feature is the most exhaustive, interesting, comprehensive look into television development I’ve ever seen… This is a sterling, substantial bonus feature, and the gold standard for making-of documentaries.” – DVD VERDICT.COM, David Johnson

“Breaking Episode 315 – An excellent documentary that is well put together and a fine tribute to the show, it makes far more interesting viewing than solitary interviews or short specific featurettes could ever do.” – DVD TIMES.COM, Dave Foster

“Ohhhhhh Marc, you’ve outdone yourself this time! Marc Ostrick produced the incredible season 2 documentary for 24, and the shorter piece, “Wrap Day,” for The Shield season 2 set. This is a fascinating look at the final episode, from the writers pitching ideas, to the finished scene. This is something that people will talk about for a long time, just like the 24 documentary.” – TV ON DVD.COM, Gord Lacey

“Breaking Episode 315 is a huge feature on the season’s final episode. This thing clocks in at almost an hour and a half. Every aspect of the production of this episode is covered in incredible detail. You’ll spend quality time with the writers, director, and actors. This is a top notch feature”. – Upcoming Discs.com, Gino Sassani

“This latest socko season packs in eight meaty commentaries, 38 deleted scenes and an engagingly eccentric 80-minute backstage portrait of the season finale. Directed by Marc Ostrick, who’s done great work on “24″ DVDs, the documentary eavesdrops on everything from writers’ meetings hashing out story twists, to pre-production (casting OutKast’s Andre 3000), on-set woes (an uncooperative wolf- dog) and post-production (cutting scenes in editing). Ostrick even interviews the “background artists” providing sidewalk traffic. And he keeps the pace lively with a music score and fast-motion montages from cameras mounted on director’s monitors and mike booms. It’s an eye-opening peek at the “desperate creativity” that makes this low- budget show such an adult breakthrough. ” Newsday, Diane Werts