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Future of TV and Cross-Platform Production course

Course Contents

Remember, you can complete this Future of TV and Cross-Platform Production course within 2 days of enrolling. So take your first step by contacting us today !


Detailed Content

DAY 1: New Media: and the convergence of TV Home Video and New Media:

  • TV was to be the end of feature films but that was not the case. Just because TV is free does not mean it serves all purposes.
  • Cable TV was not believed capable of competing with the Major Networks. Who is willing to pay for entertainment?
  • Home Video & DVDs, why would people pay for shows that were free at one time? Ease of watching what you want and when you want.
  • Why cut the cord from your cable or satellite service? Why watch a movie on your phone?
  • How and why did our viewing habits evolve and what is the next move in viewing. Why do movies only stay in theatres for weeks?

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Post Production and Distribution in New Media:

  • The importance of post-production.
  • Features v. Television v. Reality TV.
  • Quick history of post and distribution up to present.
  • How Post can save or kill a project.
  • Distribution decides success or failure.
  • The simplicity of modern-day distribution and the unknown difficulties.

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Monetisation of New Media:

  • Beginning of (television sponsored shows), movies paid by each person (film detectives sat across the street).
  • Add supported TV.
  • Movies finding other ways to create revenue: television the second market, re running in lower end cinemas, video, DVD and now streaming markets.
  • Co-financing and International partners.
  • Tax credits financing small and large projects.

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Risk Management Strategies for New Media:

  • Cutting cost of production.
  • Shooting on location v. shooting in LA.
  • Tax credits.
  • Hiring a mega star, whether they are a pain in the a@# or not.
  • Hiring a mega director whether they are right for the project or not.
  • How to get audiences to turn on your project? Is marketing the most important part of the puzzle?
  • Smaller budgets v. larger.

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How to build a studio over-night?

  • How studios today can be either brick and mortar or virtual.
  • What makes a studio run efficiently?
  • How do you sustain a studio?
  • The importance of cash.

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Creative Process at the Studio and Networks. How to pitch a project?

  • Coming up with a concept.
  • Writing out your treatment, bible, script, etc.
  • Selling someone else’s projects, non-writing producers.
  • Know what your potential buyer has bought and the direction of their network.
  • You can’t sell a yellow suit to a person who only wants a green suit.
  • What does the executive do with the idea you have pitched him?
  • If the studio buys your project what do you do now?

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DAY 2: Trans Media Storytelling (Marvel) and how it is changing the field of play:

  • What happens when a major IP holder makes over all deals with networks or film distributors?
  • How does this take work away from other players?
  • Does this eventually dilute the IP?
  • How does this process work?

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The process of a TV show from start to finish:

  • Coming up with a concept.
  • Writing out your treatment, script, bible, etc.
  • Taking network notes.
  • Selling your show.
  • Producing your show.
  • Adjusting your project as you produce, you will not like everything once you have seen it shot.
  • Adjusting your project in post-production.
  • Music can fix a lot of things.

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Legitimisation of New Media. Why is TV now cool for Movie Stars?

  • What caused the change.
  • HBO movies and programs, has the expense been worth it?
  • Why are the streaming companies following the HBO model, to a certain extent?
  • There is now a blurred line between movies and high-quality TV.

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Tracking and understanding research for programming:

  • What kind of research has been used for the last 70 years?
  • How did the Nielsen’s research work?
  • What are the major changes today?
  • How do the streaming companies use research today?

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New Media vs Traditional Media, what are the major difference and how is it changing viewing habits as well as the working industry itself?

  • We are now an on demand viewing society.
  • Binge watching v. once a week, the change in viewing mind set.
  • I can now watch any show any where I would like to.
  • The different viewing platforms, not just traditional TV sets.

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Going Global as a network:

  • The change in distribution models.
  • Will the traditional studios be able to stay alive.
  • How does a New Media go global without distribution lines in place?

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