WHAT IS THE MULTIFILM
The MULTIFILM is a newly conceived serial audiovisual product capable of potentially endless entertainment because it generates a film in which, with each new vision, the subject, screenplay, acting and editing change, automatically and randomly, always maintaining logical consistency between a scene and the other. This means that any vision of the work, although different and partially randomly assembled, holds its logical sense with no errors, like for example showing a still living character who died in one of the previous scenes.
Let’s imagine a normal movie that could be represented on a line in which the scenes are following one another, from first to last.
arranges its “events” (also called “clips”; meaning a single or more scenes
together) not on a single line of narration, but on a tree structure of
represents a different development of the movie.
At this point, to
create many (almost infinite) different paths (epidoses), it is not necessary
to create many different clips, but only many variations of the same scenes, so
that, even if viewed several times, they always propose alternative versions of
In this way the
different combinations and therefore possible visions of the same film increase
variants of the scenes can be of
subject: scene in which
what happens in the sequence radically changes. For example, in a scene the
protagonist is walking alone on the street. In the first variant of subject he
meets an acquaintance. In the second he gets run over by a car. Those are the
most expensive for the involvement of a greater number of actors, locations,
stage props and different situations to work on.
script: every dialogue
and/or narrating voice can advantageously be described and recorded in more
versions, allowing to produce low cost diversity.
editing: it allows to
dilute the contents creating different variants of a scene where each could
unveil a different point of view or a particular content. Furthermore
it allows different esthetic solutions for the same scene.
interpretations of the actor can be used alternatively instead of being forced
to choose a single one. Diversity will be then created using
material that in normal productive processes would be discarded.
artists would be able to create different musical atmospheres for the same
scenes, contributing in making every audiovisual experience unique.
Every vision of
the product will allow to gain general understanding of the story that, in
addition to be configured every time in a different way, will leave many
questions unanswered. For example the story’s prequel, or the motives behind a
certain character’s behavior, can be understood only through more viewings of
the same MULTIFILM.
This kind of
audiovisual mechanism was already known to the art; but the MULTIFILM overcomes
its predecessors because it not only maintains coherence within the same
vision, but also between one vision and another, allowing the story to “evolve”
in a particular direction instead of changing in a completely random way.
For example, in a
story based on vengeance, in which the weak protagonist is forced to clash
against a stronger opponent, systematically losing, in subsequent visions the
protagonist could learn from his past errors and become gradually stronger (or
more conscious) and succeed in his/her intent. In fact there are many endings,
but only one “Grand Finale”, in which everything is explained and in which the
narrative process culminates; but also this will be realized in different
versions so that the entire work could be watched over again from the beginning
to the end and still present itself in ways never seen before.
It will be
appreciated that on a narrative level it is undoubtedly advantageous to present
first "doubt" and then "resolve", first "shame"
and then "redemption", first "defeats" and then, only
after, "victories". To see these elements in a different order (which
could happen with a completely random algorythm) would not be equally enjoyable
for the viewer.
MULTIFILM, maintaining the possibility to “arrange” the fruition of some
elements, offers a story capable not only to randomly change, but also raises a
linear evolution (typical of the traditional TV series in which one episode
after the other the protagonist “grows” increasing his or her capabilities)
that will stimulate further views (at least until the “Grand Finale”, that as
previously explained, states the end of the narrative path, but not to the
dissimilarities of the MULTIFILM, which could be seen many more times from the
beginning to the end to present new ways that have not been shown yet, until
coming to different and always new versions of the “Grand Finale” itself).
only the MULTIFILM will impose its innovative narrative formula but also its
incredible production optimization capacity.
In fact using
the same locations and the same set up to produce different variants of the
same scenes extending the post-production phase (producing different versions
of editing, voice-over, acting, soundtrack etc.) a relationship between cost
and quantity of entertainment never seen in the audiovisual field will be
achieved. Thousands of different episodes can be created at the cost of a few
episodes done in the traditional way.
is based on an extremely simple but at the same time innovative software for
the characteristics of the film that it allows to create.
It is about
placing video material (produced according to traditional and therefore
consolidated technical standards) in a “tree structure”, so that each event has
a series of “children”, that is events that can be displayed immediately after
the aforementioned "event- father "maintaining narrative coherence
and a list of the so called “unwanted nephews” (always related to the
aforementioned event), that are not displayable events for the full duration of
the same vision (further mechanism that allows to prevent the production of
nonsense movies with narrative errors).
just goes through the tree “randomly”, following the connections father-child
(and avoiding each “unwanted nephew” event ) for the sake of not losing
coherence, sorting out various scenes and connecting them, from time to time,
in a vision with no interruption neither cuts.
There are 2
further simple but fundamentally important functions:
event, once sorted out and and offered to the viewer, is inserted into a memory
archive and from that moment it halves (or reduces of one tenth, depending on
the author discretion) the probability of being drawn in succeeding visions.
This allows to not meet “variants”
already seen by the viewer, avoiding premature views. It makes more unlikely,
also, that certain scenes would never be drawn and therefore never showed
despite the many visions (thing that could easily happen if the probability of
drawing out the same scene would stay unvaried during the various fruition of
events are locked from the start (not available for random draw) until
particular “unlocking” events are being collected by the viewer. This allows to
sort the fruition of certain contents instead of leaving it random. In this way
it becomes possible to show the “fear” of the protagonist and subsequently his
“courage” ; first the “doubt” then “resolution”; first “shame” then
“redemption”; first “defeat” then “victory”. Therefore it allows to sort the
fruition of elements whose vision in inverted order wouldn’t be equally rewarding
for the viewer.
This architecture involves a further
benefit that has a substantial significance because it enables to create
without additional production costs (excluding costs related to a greater
editing work of the same scenes, usually, however, insignificant compared to
the result obtained) a substantial amount of "extra" audiovisual
entertainment. From each realized event it is possible to create several ones
in the form of different portions of the same, the sum of which being considerably
longer than the original, and presenting them to the user such that he views
contents already seen but always with the addition of something new.
For example, from an event lasting five
minutes, it is possible to create an event (a) within the first minute, an
event (b) within the first two minutes, an event (c) within the first three
minutes, an event (d) within the first four minutes and finally an event (e)
within the totality of the five minutes originally available. Therefore by
means of an event lasting five minutes it is possible to achieve a total of
fifteen minutes of entertainment (it is also feasible employing editing
solutions such that within the variations b, c, d and e, portions already seen
are made different and/or faster).
This multiplication is only possible if
the viewer sees the portions exactly in the order a, b, c, d, e; if, in fact,
this were regulated by chance, the viewer could immediately see the full scene,
but then viewing subsequently all its parts would not make any sense because
the contents would have been already fully revealed. To this aim it is required
that, at the first viewing of the MULTIFILM, only versions "a" of
each portion are accessible, that is reproducible, each of which, if selected,
will unblock its own version "b" in subsequent viewings, which in
turn will unblock version “c” and so on until the complete event is shown.
By applying this mechanism to virtually
all the scenes of a MULTIFILM, the benefit in terms of content optimization
becomes extremely advantageous. The normal TV series often resort to flashbacks
in an attempt to create entertainment with things already used. The MULTIFILM
instead takes advantage of "decomposing" potentially any event from
the start which is available in several portions (the sum of which exceeds in
length the original) and proposing these portions to the viewer in a certain
order during subsequent viewings, ensuring a significant increase in the total
duration of the narrative experience (and thus also of possible economic returns
associated with it - the greater the "duration" or the number of
episodes of a serial work, the greater the income that it will guarantee) while
still preserving a correct balance between restituting to the viewer contents
already experienced and contents never experienced before, during the course of
In this way it is possible to
continuously push back – and in an evolved way - the full enjoyment of the
narrative contents in subsequent viewings without which they would never be
fully enjoyed by the viewer. This is a further incentive to watch several
viewings: if the contents were entirely available from the beginning, viewer's
interest may run out quickly.
of the software is within the reach of any programmer.
aspects of the invention concern the realization of normal video clips with the
traditional methods (apart from the fact that for each scene many “variants” of
itself could have to be made).
For a more
detailed and exhaustive explanation it is possible to examine the description
of the patent n. WO2014174359A3