Web TV Series E-Book

Dan Williams

• Herausgeber: Creative Essentials
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 293

Veröffentlichungsjahr: 2012

Beschreibung

Today, people can watch television shows, feature films, live sporting events, and just about anything they want on their computers, tablets or phones. As the new media marketplace continues to grow, so does demand for original content and opportunities for filmmakers. Online distributors - such as YouTube, Hulu, and Funny or Die - are interested in acquiring web series (episodic digital entertainment, like mini-TV shows) that attract audiences and appeal to advertisers. Web TV Series... How to Make and Market Them provides advice and expertise to help readers create their own original, successful online shows - projects that can be profitable, potentially developed into film or television properties, and help to start a career in the industry. Readers will learn how to develop characters and stories designed for new media platforms, and find tips for planning, shooting, and editing that are tailored specifically to web series production. This book also extensively covers the latest distribution platforms and social media marketing strategies, as well as examples of how to find financial sustainability through advertisers, branded content, and sponsorship partners. Web Series has all of the tools necessary for both aspiring and experienced filmmakers to make the most of this growing new medium.

Leseprobe

Today, people can watch television shows, feature films, live sporting events, and just about anything they want on their computers, tablets or phones. As the new media marketplace continues to grow, so does demand for original content and opportunities for filmmakers. Online distributors – such as YouTube, Hulu, and Funny or Die – are interested in acquiring web series (episodic digital entertainment, like mini-TV shows) that attract audiences and appeal to advertisers.

Web TV Series… How to Make and Market Them provides advice and expertise to help readers create their own original, successful online shows – projects that can be profitable, potentially developed into film or television properties, and help to start a career in the industry. Readers will learn how to develop characters and stories designed for new media platforms, and find tips for planning, shooting, and editing that are tailored specifically to web series production. This book also extensively covers the latest distribution platforms and social media marketing strategies, as well as examples of how to find financial sustainability through advertisers, branded content, and sponsorship partners. Web Series has all of the tools necessary for both aspiring and experienced filmmakers to make the most of this growing new medium.

Dan Williams is a new media writer and producer working on original independent, sponsored, and branded entertainment projects. Most recently, he created and produced a dramatic web series that was sold to BET Networks. He is a member of the International Academy of Web Television, regularly participates in industry panels, and guest lectures at universities. Dan has also worked at talent agencies and television studios, in development and production. He currently lives in Los Angeles.

Dan Williams

WEB TV SERIES

how to make and market them

www.kamerabooks.co.uk

To Anne

ACKNOWLEDGEMENTS

Thank you to all of the talented and innovative web series professionals whom I contacted while researching this book. The new media community is extremely supportive and I am always grateful for their insight.

Thank you to Hannah Patterson, Anne Hudson, and the wonderful Kamera Books team for their helpful notes and tremendous support.

And thank you to my wife for her constant inspiration.

CONTENTS

Title Page

Dedication

Acknowledgements

Preface

1. INTRODUCTION TO WEB TV SERIES

2. DEFINING SUCCESS

3. DEVELOPING THE IDEA

4. FINANCING THE PROJECT

5. CREATING A MARKETING PLAN

6. PRE-PRODUCTION

7. PRODUCTION

8. POST-PRODUCTION

9. DISTRIBUTION

10. SUSTAINABILITY

11. TRADITIONAL MEDIA OPPORTUNITIES

12. INDUSTRY INTERVIEWS

13. RECOMMENDED WEB SERIES

Appendix: Two Episodes of Asylum Script

Endnotes

Copyright

PREFACE

This is an entertainment medium without a lot of history or precedent. As soon as one path to success is established, it quickly becomes obsolete and is replaced by additional innovations in the marketplace.

How do you create a hit web series? The truth is that what works for one show is not replicable by another.

After helping a friend of mine who wrote and directed a web series, the idea crept into my head that I should create my own show as well. Producing Asylum gave me the opportunity to dive head-first into web TV. I was new to the game, and struggled to find any reliable how-to guides or best-practices.

So I talked to as many people working in new media as I could. I wanted to find out what worked for them, and what did not. What steps they took to reach their goals. And what mistakes they made. I attended panel discussions and networking events, and read every article I could about new shows and industry announcements.

This book is a collection of the information I gathered while producing content and exploring the new media space. It contains market research, breakdowns of the latest trends and technology, and web-specific tools for both aspiring and experienced filmmakers. There are also personal anecdotes from people working in new media from a variety of backgrounds.

1. INTRODUCTION TO WEB TV SERIES

When I started this book, I wanted to write something that presented all the options, scenarios, and possible routes one could take while developing their own web series. Simply put: I wanted to create the kind of resource I wish I’d had before making my own show.

As internet connections become faster, it is only getting easier to stream videos online. The vast majority of internet users watch video content, and the average amount viewed continues to increase as well.1 Production costs, meanwhile, are decreasing as high-end cameras and editing software become more available to consumers. Websites like YouTube allow users from all over the world to upload and share their own creations.

You have surely noticed these trends yourself. Odds are that you have watched plenty of content – perhaps you have even posted a few videos of your own. What is important to note is that, out of this new web-based production and distribution model, a new medium of entertainment has emerged. Somewhere along the path of making original online videos, content creators began crafting serialised programmes.

These creators posted new content on a consistent basis and built an audience of regular viewers. Successful web videos no longer relied solely on a one-shot upload ‘going viral’ to become a hit. Whether they were flash cartoons like Homestar Runner, fictionalised blogs like lonelygirl15, machinima animation2 like Red vs Blue, or sketches like the YouTube duo Smosh – a new trend developed in online video. Creators promised new material on a specific schedule and focused on building a community of fans around their videos’ brand.

The only thing more contested than the exact genesis of the medium is its name. Early adopters tended toward webtelevision. But what is ‘television’ if it is not being watched on a TV? These new online programmes are broken into episodes and feel relatively like abbreviated versions of traditional television shows. However, many of them feature subject matter, use production techniques, and are uniquely structured in ways that differ greatly from their TV equivalents. Watching ‘web television’ is a very different viewing experience than simply watching a TV show on your computer.

Many have now taken to calling these serialised online videos web TV series or simply web series. The medium is one that took off in a hurry and has begun to capture the public’s attention – as well as the attention of advertisers and studios. Web series have given voices to those left out of traditional entertainment and provided new opportunities for independent artists.

A CASE STUDY (WITH BACON)

Montreal natives Harley Morenstein and Sterling Toth started by recording something they loved to do: eating greasy food. In October 2010, the pair teamed up with some friends to create a pizza made out of all the fast food they could gather – burgers, chicken nuggets, tacos, French fries, and onion rings. Then they ate it and posted the footage on YouTube.3

When the video’s view count soared past the 100,000 mark, Morenstein and Toth decided to produce more content. Their series, dubbed Epic Meal Time, releases new videos every Tuesday. With an over-the-top style and aggressive attitude toward food consumption, the duo lead the creation of ridiculously high-calorie feasts (which usually include layers upon layers of bacon).

In three months, the series accumulated over three million views. Currently, their total views are over 300 million. They built an audience of people who enjoyed their Jackass-like sensibilities and perhaps wanted to binge vicariously through the show. Their YouTube channel became the fastest to reach one million subscribers, completing the task in under nine months. Morenstein and Toth monetise their series through advertising on YouTube, merchandise sales on their website, and referral programs.

The creators of Epic Meal Time are now represented by the Gersh Agency and managed by Brillstein Entertainment Partners. They have been featured in Entertainment Weekly and were guests on The Tonight Show with Jay Leno. Morenstein and Toth recently closed a deal to develop their concept as a television pilot for the G4 network.4

A CASE STUDY (WITH UCB)

Upright Citizens Brigade alums Abbi Jacobson and Ilana Glazer have produced two seasons of a sometimes-scripted, sometimes-improvised comedy called Broad City. In the show, Jacobson and Glazer play exaggerated versions of themselves – confused and insecure as they navigate life in New York.5 The series is every bit as awkward and funny as its lead actresses and reflects their distinct point of view (which the creators describe as empowering to women, without having a big message).6

Since early 2010, the duo has achieved cult status online. Their videos do not have nearly the amount of views as Epic Meal Time, but the series has been mentioned in Huffington Post, Time Out New York and the Late Night with Jimmy Fallon blog. Jacobson and Glazer have honed their style and sensibilities with the show, and push themselves creatively – for example, one episode paid homage to Spike Lee’s Do the Right Thing, including a choreographed dance routine.

The unique nature of Broad City caught the eye of UCB co-founder Amy Poehler (Parks and Recreation), who helped bring the series to FX. Poehler will executive produce a half-hour pilot that Jacobson and Glazer are writing for the network.7

WHY WEB SERIES?

So, why do filmmakers choose to make a web series in the first place? Or, more than that, why do some creators prefer the online medium over others? There are several elements that make producing web series projects different to, say, a short film or television show.

Worldwide distribution

Distributing a show online allows your project to easily reach audiences all over the world. Not long ago, the model for independent filmmakers relied on festivals and art house theatres to exhibit their work. Worldwide distribution was only possible if a larger company acquired the film.

Posting a video to YouTube or other hosting site immediately makes it available to viewers across the globe. There is virtually no limit to the potential reach of your project. Of course, self-distribution like this also puts the pressure of marketing on your shoulders as well. You have the resources, but also the responsibility of attracting the audience you want.

Engaging viewers

On the web, you have the opportunity to engage your viewers for feedback and support. Instantly after watching, your audience can leave comments about your project. They can communicate via Facebook or Twitter, and share their thoughts. As a filmmaker, this gives you the chance to solicit reactions to your series, figure out what worked and what did not, and hopefully grow as a writer, producer, director, or actor.

Fans can also chat with each other about their favourite shows. Social media gives you the ability to help cultivate a community of viewers around your show. You can speak to them directly, provide updates about your project, and give your audience a look at the creative process behind the show.

Serialised storytelling

Telling stories or establishing a format over several consecutive episodes allows web series creators the opportunity to continuously perfect their projects. For scripted series, serialised shows allow writers to expand their stories beyond a single short or feature film. Actors have the chance for more in-depth character exploration. Hosts of non-scripted formats can develop episode segments that maximise audience engagement.

Monetisation opportunities

New ad revenue sharing models, brand-sponsored content, and an investment by large studios in online-specific content have provided incentives for filmmakers to create web video content.8 The medium will continue to feature one-person video blogs and plenty of cat footage, but the space is increasingly becoming populated by talented professionals. Web series are a great place for experimentation and side projects; they are also how many filmmakers earn a living.

Independent producers can partner with established online networks or distribute themselves. Videos can feature ads or product placement. Web series creators can sell merchandise or ask for donations from fans. There are a number of creative ways for filmmakers to continue telling their stories and eventually make money doing what they love.

THERE ARE NO RULES

Creating a web series provides filmmakers with a tremendous amount of autonomy. You are your own boss, which means that you are in charge of every aspect of your art – from development to execution, distribution to marketing. Because of this, responsibility rests solely with you to make your show a success.

So, what makes a good web series? The two shows highlighted as case studies in this chapter seemingly could not be more different. From their subject matter to execution, each had their own methods of production. Yet each connected with an audience and helped their creators find new opportunities online.

Whether you are a writer, director or actor, producing a show by yourself or collaborating with others, this book will discuss all of the tasks that web series creators perform in order to make a successful show. The book draws upon personal experiences producing web series, making mistakes and learning along the way. It also draws upon knowledge from friends, colleagues and leaders in the new media industry.

Web series is an evolving, ever-changing medium. It is a young industry with few templates and even fewer rules. Working in the space can therefore be a trial by fire at times. Hopefully this book will provide insights and examples into all aspects of web series creation, and give you the tools necessary to reach your goals. You can read about, and learn from, the experiences of others. Then you will be able to make something uniquely your own.

INTERVIEW WITH JEAN MICHEL ALBERT

Jean Michel Albert is the founder and president of the Marseille Web Fest. For the first year of the festival in 2011, web series writers, producers, directors and actors from around the world were invited to exhibit their projects. Shows from countries such as France, Italy, Spain, Israel, India, Canada, the US and the UK were all represented. Attendees were able to meet with international exhibitors, transmedia developers and other experts in the industry. Jean Michel has watched the medium grow tremendously in recent years, and sees a world of opportunity for new web series creators.

What inspired you to create a festival exclusively for web series?

As a producer of web series, I egotistically thought, ‘If there is no one to critique the artistic quality of TV series or movies in movie theatres, who is going to pose the aesthetic question regarding web series? One can imagine all, or almost all, their economic models, their hope in the number of viewers they can reach, but who really worries about their content? Where is the critical discourse to cover the potential creative explosion of this new type of production?’

It therefore seemed imperative for me to create a European festival so as to have a clearer understanding of the hundreds of web series which are created every year. The only well-known festival is in Los Angeles. Therefore I flew to the US and came to LAWEBFEST, organised by Michael Ajakwe. This was a real shock for me. First the joy of meeting the founder of the festival, but especially the shock of meeting so much talent from around the world. I had no doubt as to what to do when I left. I came back to France and organised the Marseille Web Fest, which was a real success.

What surprised you about the quality and content of the projects submitted to the festival?

We watched 130 web series, and retained 22. It is evident that only the best on an artistic basis were retained. But, overall, I was surprised by the level of quality of all candidates. Whatever the country of origin, the majority of the web series were really very interesting, well written, played by very good actors. I think this comes from the fact that a web series has much more of a chance to be seen by [an international audience] than a classic TV series. The writers will tend to act as real professionals as the critique is more cutting on social networks. Just watch YouTube, for instance. They can be very tough on those who put videos on the web.

We had some pretty intense discussions with the members of the selection committee. It was really difficult to choose the 22 web series as winners of the competition.

What future international opportunities do you foresee for web series creators?

On a professional and human level, I’d say that it gives them the opportunity to show their work to professionals, prove to the industry that they have the necessary talent to do a long production, or be entrusted with the creation of a series on TV. Ten years ago, it was very difficult for a writer, producer, or even an unknown actor to get [attention]. Unless you’re lucky enough to know the head of a studio, or make a short film at the end of a university year and attend all festivals and get a prize, it is Mission Impossible. The internet has allowed an extraordinary visibility. Many talents, especially in the USA, have been recognised thanks to the internet.

On an economic level, I believe that certain web series can compete with any TV shows in the world. In addition, the scarcity of good programmes and the multiplicity of channels force the owners of these same channels to acquire this type of programme, or else see their viewers dwindle. It is the case in the US where many web series have become cult series on TV. In France and in Europe, more and more TV channels are interested in web series because of the number of viewers who go on the net. These TV channels no longer hesitate to produce web series and to show them on TV.

In any case, the better the quality of the web series, the better the chance of finding producers and making money!

2. DEFINING SUCCESS

New York-based actor Al Thompson enjoyed success early in his career with supporting roles in films such as The Royal Tenenbaums and A Walk to Remember. But the enterprising Thompson was not completely satisfied with his opportunities; indeed, he was often frustrated by the lack of them. So, using his own money and calling in a few favours (having friends in film school with access to equipment is always helpful), he created and starred in a web comedy called Johnny B Homeless, based upon his experiences couch-crashing when he first moved to Hollywood.

The witty and well-produced series was voted Audience Choice at the New York Television Festival in 2009 and caught the attention of Atom.com. The Comedy Central-controlled hosting site acquired the show for exclusive distribution the following year.

Since then, Al Thompson has been one of the hardest-working talents in new media. He is founder and CEO of his own production company, ValDean Entertainment. Thompson continues to write, produce, and star in original web shows. Recently, his drama Lenox Avenue and sci-fi series Odessa have been acquired by BET for online distribution. New media is a medium for entrepreneurial filmmakers, and Al Thompson is a great example of that spirit.

Web series creators have the opportunity to control all facets of their show – from development and production, to marketing and distribution. In some respects, creating a web series is similar to starting a business. And, as any MBA knows, you do not start a business without a plan.

Every day there is a new series being uploaded to the web.9 Many of these only last a few episodes before their websites go dark. But a handful of these series go on to become YouTube partners, strike sponsorship deals to finance more episodes, or even develop into television shows. What separates these projects from others is planning for success, and understanding what it takes to be successful.

The specific tools necessary to achieve your goals vary depending on what kind of web series you create. Therefore, by first identifying the objectives of your show, you can make informed decisions about acquiring the resources needed to execute your vision. You can also study other shows with similar aspirations in order to craft your plan.

It is time for you to ask the question: what do you want to do with your show?

HAVE FUN

While you may not have purchased this book to help you post strictly recreational videos online, it is important to remember that all these new media tools can be used to simply have a little fun. Instead of merely griping about how much garbage is on television,10 you have the ability to program your own networks online. And without any executives to report to, you have the opportunity to be as creative as you like.

Write your own theme songs. Design your own opening title graphics. Experiment with storytelling formats. Be outrageous. Be bold. If your objective is only to enjoy the process, then let that be your definition of success. Do not worry about view counts or marketing strategy. If you stumble upon a viral hit, then you can reevaluate your goals.

But do not break the bank on these types of projects. Your show should be produced using equipment you already own (or can borrow), require virtually no financial investment, and be made in your spare time.

MAKE THIS YOUR FULL-TIME JOB

In 2010, the top ten YouTube partners – that is, channels whose content was deemed appropriate for special advertising partnerships – each earned over $100,000. Hosting site Blip (blip.tv) reports that some of their producers earned as much as $500,000 in ad revenue. There is certainly money to be made for web series creators. But this is not the lottery (unless, perhaps, you are Rebecca Black). Earning an income equal to a full-time job requires a full-time commitment.

In order for a show to earn a significant amount of ad revenue, it needs to generate total views in the millions.11 Therefore, the most successful YouTubers and web series programmers post new content nearly every day. This high level of output requires creators, at least initially, to keep production costs very low. Most use equipment that they already own, which eliminates rental fees and gives them the ability to shoot on short notice. They also use convenient, mostly free locations such as homes, cars, or outdoor spaces, or green-screen rigs that they build themselves. Many creators are also the stars of their shows, or feature friends willing to appear for free.

Case study

This book will go into greater detail later about becoming a YouTube partner or making ad revenue-sharing deals with other distributors. To give you a better idea of what types of shows find sustainability and success through this method, though, let us take a quick look at YouTube aficionados Freddie Wong and Brandon Laatsch.

The videos posted on the freddiew YouTube channel usually star Freddie and feature fun, creative, and astonishingly professional-grade special effects that Brandon renders himself. Episode concepts tend to focus on video-game characters and scenarios integrating with everyday life. They are relatively short, simply structured skits that highlight the filmmakers’ ability to craft their own unique CGI environments.

Since launching the channel in 2005, Freddie has engaged his fans at every opportunity. Most videos end with links to behind-the-scenes featurettes and recorded responses to viewer comments. Freddie and his team also organised a cross-country road trip to meet some of their fans, as well as shooting new videos at interesting fan-submitted locations.

Only after years of producing original, high-quality videos and becoming a YouTube partner was the freddiew team able to leave their other jobs to work on their web series full-time in 2010. They worked hard doing something they enjoy, and now have the seventh most subscribed-to channel on YouTube.

Other examples

Because YouTube success depends largely upon posting videos on a near-daily basis, many creators star in their own videos and produce using the video-blog format. Justine Ezarik (ijustine), Philip DeFranco (sxephil) and Ray William Johnson are typical examples, as well as the Fred character created by Lucas Cruikshank. Sketch comedy also lends itself to YouTube popularity (for example, the channel TotallySketch). Shows with simple formats, such as TheFineBros’ Kids React (in which children watch and comment on the latest quirky web videos), can also find YouTube success.

Some web series are more ambitious in their quality, which, of course, leads to higher production costs and the need for upfront financing in order to maintain sustainability. Content creators of this kind solicit corporate sponsorships and exclusive distribution deals in order to meet their goals. These shows, like the YouTube programmers above, need to demonstrate the ability to reach a significant amount of viewers. However, they need not reach super-high view counts or post a large volume of material, so long as they target a specific demographic and build a community of fans.

Case studies

In 2007, actress Felicia Day drew upon her gaming experiences to create and produce three episodes of a web series called The Guild, which chronicles the online and offline lives of internet gamers. After posting the show on YouTube, Felicia’s enthusiastic audience helped her finance two more episodes of the series. She had successfully identified a niche of dedicated and active fans.

Because of the show’s professional production values, the strong identity of its viewers, and the subject matter of the show, Felicia was able to make a sponsorship deal with Microsoft to finance future seasons of her series. Through the deal, the show now premieres via various Microsoft platforms, such as Xbox Live, which fits in with the show’s targeted demographic. The Guild has been running for five seasons, and even spawned its own comic-book series.

Alternatively, sponsors can be brought onto a project early in the development process so that they can further be integrated into the show’s storytelling. Actress and producer Illeana Douglas caught the attention of mega-brand IKEA with a YouTube series that she produced called Supermarket of the Stars. The furniture company liked the concept so much that they collaborated with Illeana to develop a new show set inside one of the company’s stores. The series, Easy to Assemble, launched in 2008 and is currently in its third season.

Other examples

There are also opportunities for web series creators to continue producing their shows via exclusive distribution partnerships. For example, Syfy.com has picked up the Canadian-produced steampunk adventure Riese and the retro sci-fi serial Mercury Men. Some series, such as the teenage drama Anyone But Me (which is concluding after three critically acclaimed seasons), are able to maintain independent sustainability through a combination of crowd-sourcing, ad revenue, and DVD/merchandise sales.

CREATE A PORTFOLIO PIECE

Aspiring filmmakers are always searching for ways to break into the industry. What better way to showcase your abilities as a writer, producer, director or actress than creating a mini-TV show? Without the burden of reporting to any network executives, you have the ability to demonstrate your unique creative voice. And if you would like to use your project only as a portfolio piece, sustainability does not necessarily need to factor into your development process.

As with the short film format, there are a number of high-profile festivals in which new media projects can compete. In addition to this exposure, the web also provides the opportunity for executives, producers, agents and managers to find your work organically, increasing your potential of being discovered.

As established studios, television networks and large brands begin to produce more original web content, there will increasingly be more opportunities for filmmakers with experience in the space. Emerging YouTube talents, for example, are partnering with production companies to expand their brands. They are hiring directors, writers and producers – just like any traditional media project would.

Case study

North Carolina natives, friends and filmmakers Rhett McLaughlin and Link Neal began posting original videos to the web in 2006. Their songs, sketches and video blogs built a steady fan base; the duo’s YouTube channel RhettandLink currently has received over 100 million total views. One of their most popular videos is an elaborate stop-motion skit called T-SHIRT WAR!!, which they made in conjunction with fellow YouTubers Joe Penna (mysteryguitarman) and Billy Reid (verytasteful). The video’s creativity and unique style caught the attention of McDonald’s and Coca-Cola, who employed the team to create a commercial using the same concept.

Rhett and Link continued to partner with companies and produce branded online videos. One of these projects was the MicroBilt sponsored series iLoveLocalCommercials, which featured the duo creating free commercials for local businesses submitted by users. The show was such a success that IFC developed the idea for television. Rhett & Link: Commercial Kings premiered in June 2011. By showcasing their unique sense of humour and creating a clear point of view online, Rhett and Link used their videos to find opportunities in new media and television.

Other examples

Actor/director Mark Gantt created the web series The Bannen Way for the Sony-owned distribution site Crackle. He has since used the success of that project to work in other prominent web series such as Leap Year, The Guild and Suite 7. Director Scott Brown used his web comedy Blue Movies to find representation and work creating web content for the Spike TV series Blue Mountain State and supplemental material for the feature film The To Do List. Writer Woody Tondorf’s series, Elevator, and other web videos served as a calling card to find a job on the writing staff for the Hulu series The Morning After.

Opportunities in new media for content creators, producers and actors continue to grow. Hulu, Yahoo and Crackle have demonstrated a commitment to developing original, exclusive online series. Some of these programmes hail from well-known names like Ben Stiller, Vin Diesel, and Zooey Deschanel (Burning Love, The Ropes and The SingleLife, respectively). Web series can also present an opportunity for artists to take the next big step in their careers, as with JD Walsh, the creator and first-time director of the Hulu original series Battleground.

DEVELOP A TELEVISION PROPERTY

Many web series find success because of how different they are from traditional TV shows. They can feature choppy editing and over-the-top acting, deal with topical subjects almost instantaneously, and are usually forgiven for mediocre production quality – aspects that usually are not acceptable in traditional media.12 However, if you specifically hope to have your web series adapted into a television show, then it should look and feel as much like its intended format as possible.

For example, you must show that there is enough depth in your idea to last a hundred or so TV-length episodes. To this degree, it is important to demonstrate what genre your series fits into – whether that be a procedural drama, primetime soap, reality contest or game show. Define the parameters of your concept and make the show that you would like to see on the air, just in an abbreviated format.

Case study

In 2007, Stargate: SG-1 co-executive producer Damian Kindler created and produced eight episodes of an original web series called Sanctuary. The show was shot almost entirely in front of a green screen with CGI-created backgrounds. Its unique look and significant number of online viewers attracted the attention of the Syfy cable network, which repurposed the initial episodes to launch an hour-long television show. Damian was able to bring his entire cast and production team with him, and translated success online into sustainability on TV: Sanctuary has been on the air for four seasons now.

Other examples

As you have surely noticed, most TV shows feature actors and actresses with a certain amount of name recognition. Many examples of web series that have made the jump to television also have name talent involved: Lisa Kudrow stars in Web Therapy, which has been picked up by Showtime, Rob Corddry is in the series Childrens Hospital, which is now on Cartoon Network’s Adult Swim, and Kiefer Sutherland headlines the web series The Confession, which is being developed into a feature film by Image Entertainment. Attaching a notable star to your web series is not required to make future deals, of course, but it is an element to consider when deciding what goals are reachable for your particular production.

BE INFORMATIVE

The tools of new media can be used not only to entertain, but to share information regarding a cause, underreported news story, local events, or whatever else you feel passionate about. A web series can be used to educate, inspire, and build a grassroots community of support. You should always make sure, to the best of your abilities, that any information you provide in such videos is up-to-date and accurate.13

The requirements and resources for sustainability of an informative web series include the same options as previously discussed. Targeting brands and distribution platforms that share your project’s mission can lead to partnerships that finance future episodes. If you produce these types of shows in conjunction with a non-profit company (or start your own), you have the additional ability to solicit donations from your viewers to continue production. There are also a number of private and government grants available to creators seeking to provide public educational services.

Case study

The non-profit organisation StoryCorps was founded in 2003 by David Isay with the mission to preserve an oral history of everyday Americans. To date, StoryCorps has recorded over 30,000 interviews with over 60,000 participants that are preserved in the Library of Congress. Like many non-profits, the company receives its funding through generous donations and grants from foundations like the Corporation for Public Broadcasting.

In addition to publishing CDs and books of these recordings, StoryCorps also works with talented artists Mike and Tim Rauch to produce an animated, Emmy-nominated web series depicting select interviews. These stories are touching, funny, endearing, and inspiring. In recognition of the tenth anniversary of 9/11, StoryCorps commissioned a series of videos featuring interviews with those who lost loved ones in the tragedy. It is a profoundly moving series.

Other examples

The PBS series Off Book works to inform the public about new art projects and trends, with an aim to create a broader art-appreciating community online. Morgan Spurlock (Supersize Me) hosts a show on Hulu called A Day in the Life that profiles dynamic individuals from a variety of backgrounds.

Like talk radio, web series can also be used to filter news with political ideologies. Glenn Beck moved his conservative talk show from the Fox News cable network to the web via a viewer subscription service. The liberal/progressive talk show The Young Turks has grown its following online and can now additionally be seen on the Al Gore co-founded Current TV network.

So, what will the goal of your web series be? What parameters will you use to define success? As you will see in the next chapter, the development process is informed by the requirements needed to achieve your stated goals. These objectives determine your budget constraints, cast and crew considerations, and time commitment.

Your series can most definitely be successful, but it will require a certain amount of work to get there. Consider the investments that our case study creators put into their shows in order to achieve success. Before you embark on this exciting endeavour, make sure that you are prepared to do the same. This book will provide you with all of the tools and resources you need, but only you can provide the passion, determination and work ethic necessary to achieve success.

INTERVIEW WITH MICHAEL CYRIL CREIGHTON