Rationale
Foreword
Pixol Creative is inspired by the dynamic and evolving creative economies and the expressed demand to tell the diverse African story innovatively and in formats accessible globally and with a high-quality technique using locally available resources.
The Relationships
It has proven necessary to nurture the positive symbiotic relationships in the creative multimedia production process. Symbiotic relationships are a special type of interaction between units that are essential to existing ecosystems, and they provide a balance that can only be achieved by working together.
Only through understanding achieved through dialogue and structured work interactions can the optimal value of the creative economy as a whole be realized.
Value chain players in Creative Multimedia Production
The Ecosystem in Multimedia and Creative Product Development
The Ecosystem
When referring to “ecosystem” there is the acknowledgement that new ideas and creative businesses are often birthed from a complex and unpredictable web of relationships. Ecosystems can be messy as they morph and change unpredictably.
Pixol Creative's take
Pixol Creative considers taking collective responsibility towards development of creative projects and inherent infrastructure required to make it a success. Infrastructure is not just physical work space. It's a spectrum of physical, social, financial and intellectual assets that interconnect to make a culture of starting things.
Can I make it here?
In contemplating the sustainability of the creative venture the question often asked is “can I make it here?
Flagship initiative
The flagship initiative rolled out by Pixol Creative i.e. the Pixel Project is a joint effort of the Pixol creative and other strategic partners combining capacities and experiences in the development of the creative process amongst the creative communities and relationships from past projects.
Pixol's Disposition
Who is it for?
Pixol creative aligns itself to the key submarkets/communities that feature the extensive use of visualizations in accordance with globally acknowledged state of the art approaches to tell their stories.
Entails and is not limited to:-
Storytellers i.e. Writers, Storyboarders, Directors, Camera Operators, Gaffers, Sound engineers, Makeup artists, Art Directors, Set designers, Interior Designers, Actors, Video Editors, VFX Artists, Animators, Colourists, Graphic Designers, Web Designers, App Developers and individuals who support and have a passion for all things creative.
Story Telling
The burden in the cycle to get a story produced and shared on various media is often a strenuous and capital intense initiative for most.
This requires/entails the deployment of diverse skills concertedly with technicians, talents, value chain players and well-serviced conduits to disseminate and distribute the same.
In a modest estimation, it takes…
What's in a well told story?
A communication platform
e.g print media, radio, TV, experiential gigs like an event, apparels, outdoor screens, internal spaces in buildings, and digital platforms such as mobile phones or smart gadgets like digital screens.
Exchange format
Which can be through human senses meaning that the communication/ information piece it is either read, heard, touched or illustrated or a combination of all.
Story teller / narrator
A person or group with a story to tell in the form of information, education and communication of a pertinent matter.
Communication Content
This being the conversation piece carrying the communiqué.
Audience
One to which the communication piece is directed
Communication Platforms available to engage
The Creative Economy
Culture, Arts, Economy and Technology
Creative economy is at the intersection of culture, arts, economy and technology whereby there is a dynamic and developing nature of the industry/field. This has seen the shift from creative industries to creative economies. There are various actors who have to be considered in its development.
Model
The creative economy is developed therefore as a future-oriented model based on evolving new data and international trends.
Only about 50% of workers in the creative economy are employed in the traditional creative industries hence there is a need to appropriately interpret and negotiate key concepts of the creative economy.
Pixol Creative's Theory of Change
Bring about sustained and meaningful livelihoods in the creative sector by addressing the disconnect in the much needed positive symbiotic relationships in the creative process & industry through the use of learning platforms, peer review forums, joint working projects, market linkages and capacity building on the development of productions from pitch to pilot.
This is attained through the 4 pillars. Read more about the Pillars on the Pillars section on the menu.
See the theories in action
