Online Video Production: Trigger Street Productions

 

Founded in 1997, Trigger Street Productions is located in Los Angeles, California.

Background

In 1997, Kevin Spacey sought to give back to the eager young screenwriters of the film industry by creating Trigger Street Productions. His partner, Dana Brunetti, has since turned the small project into an award-winning entertainment production company. The company is credited with producing Oscar winning films such as The Social Network and Captain Phillips (Spacey, n.d.). Beyond film, Trigger Street made a name for itself in the online streaming industry with the production of House of Cards, as seen on the video streaming site, Netflix.

Assets

Headquartered in Los Angeles, California, Trigger Street operates under the parent company, Relativity Media, as of January 2016. With this acquisition, Relativity has put Kevin Spacey as chairman of their film division, and has made Dana Brunetti active President and CEO of Trigger Street Productions (Fleming Jr., 2016). Thanks to Brunetti’s leadership, Trigger Street owns the rights to a variety of different assets that stay true to the company’s mission of producing great original content for film and television (Trigger Street Facebook, n.d.). One asset is Trigger Street Labs, an interactive web platform that allows amateur screenwriters to receive critical feedback and exposure to their intellectual property (Zumberge, 2015). Another asset is Jameson First Shot, a competition created in partnership with Jameson Whiskey that gives young screenwriters exposure to some of Hollywood’s most established professionals.

Finalists and victors of the competition have their material shown in Jameson’s YouTube channel (Jamesonfirstshot.com, n.d.). These assets are considered new and visionary in a world of growing online interaction. However, the most notable and profitable ventures include hit blockbusters like Social Network, 21, Captain Phillips, Fifty Shades of Grey, and the popularized streaming television series, House of Cards (Fleming Jr., 2016).

Actors and producers of the film 'Love's Routine' attend its premiere, the winning US film from the Trigger Street Productions Presents Jameson First Shot competition at the Wythe Hotel on June 19, 2013 in Brooklyn, New York. (June 18, 2013 - Source: Craig Barritt/Getty Images North America)

Actors and producers of the film ‘Love’s Routine’ attend its premiere, the winning US film from the Trigger Street Productions Presents Jameson First Shot competition at the Wythe Hotel on June 19, 2013 in Brooklyn, New York.
(June 18, 2013 – Source: Craig Barritt/Getty Images North America)

Business Model

The business structure of Trigger Street involves financing and coordinating the production of the film and then selling the content to the major studios to be distributed. For example, in the case of The Social Network, Trigger Street along with the other producers of the film sold the film over to Columbia Pictures to be distributed to theatres. These “other producers” include the likes of Media Rights Capital, Warner Brothers, Focus Features, Picrow Productions, independent producers, and many other production companies (IMDb, 2016).

The suppliers of a production company like Trigger Street are screenwriters, talent, and all the necessary human and physical capital that it takes to put a film together (Fleming Jr., 2016). In addition, law firms are also suppliers since they are hired by Trigger Street to negotiate and close on contracts with film and television studios (Ge, 2016). The foundation of a film or streaming video is the intellectual property that coordinates the creativity of the entire production. This is why Trigger Street heavily focuses on recruiting up-and-coming screenwriters with potentially successful ideas.

Revenue Model

To generate revenue from these ventures and projects, Trigger Street has licensed its online streaming material Netflix. Though they are not the only producers of House of Cards, the company profits from the licensing agreement between Netflix and the producers of the series. In addition, the films that are produced generate box office revenue in which Trigger Street producers make an undisclosed portion of the profits (Schulte, 2014).

The Future

In the future, Trigger Street hopes to expand their ability to tap into the online streaming market after the wild success of House of Cards. While they continue their mission to lend a helping hand to aspiring screenwriters who need a chance at being noticed, they simultaneously make deals with film and television studios for the years to come. In June of 2015, Trigger Street and 20th Century Fox Television Studios agreed to a two-year deal that will go into producing Trigger Street’s new product, The Resident (Ge, 2015).  Kevin Spacey and Dana Brunetti led the pursuit of this acquisition and it is without a doubt that their thoughtful and strategized leadership will bring them to quality projects as it has done in the past.

Works Cited

Fleming, Mike, Jr. “Relativity Media Acquires Trigger Street; Sets Kevin Spacey and Dana Brunetti To Run Studio As It Emerges From Chapter 11.” N.p., 06 Jan. 2016. Web. 01 Feb. 2016. <http://deadline.com/2016/01/relativity-media-kevin-spacey-dana-brunetti-trigger-street-1201677412/>.

Ge, Linda. “Trigger Street Signs First with 20th Century Fox TV.” Thewrap.com. The Wrap News Inc., 23 June 2015. Web. 10 Feb. 2016.

Imdb. “Trigger Street Productions.” N.p., n.d. Web. 06 Feb. 2016. <http://www.imdb.com/company/co0148949/>.

“Jameson First Shot – Short Film Competition.” N.p., n.d. Web. 03 Feb. 2016. <http://www.jamesonfirstshot.com/about>.

Schulte, Erin. “How “House Of Cards” Producer Dana Brunetti Knew The Netflix Model Would Win.” Fast Company. Mansueto Ventures LLC, 13 Feb. 2014. Web. 05 Feb. 2016.

Spacey, Kevin. “Trigger Street – Kevin Spacey.” N.p., n.d. Web. 04 Feb. 2016. <https://www.kevinspacey.com/film/triggerstreet/>.

Tamblyn, Robin. “Chapter 4: Spacey’s Journey.” Looking Closer: Kevin Spacey, the First 50 Years. New York: IUniverse, 2010. 24-27. Print.

“Trigger Street Productions | About.” N.p., n.d. Web. 01 Feb. 2016. <http://triggerstreet.com/about>.

“Trigger Street Productions Facebook Page.” N.p., n.d. Web. 04 Feb. 2016. <https://www.facebook.com/triggerstreet/info/?tab=page_info>.

Zumberge, Marianne. “Kevin Spacey-Dana Brunetti Production Company Triggers New Talent.” N.p., 08 Jan. 2015. Web. 01 Feb. 2016. <http://variety.com/2015/scene/news/adrien-brody-will-perform-for-winner-of-screenwriting-contest-1201391231/>.

Posted in Online video | Leave a comment

Advertising Marketing and Promotion through Instagram

WHAT IS NATIVE ADVERTISING?

Native advertising is “a form of paid media where the ad experience follows the natural form and function of the user experience in which it is placed” (sharethrough.com, 2016). In other words, it is an advertisement disguised as content. Native advertising is a media centered way of reaching consumers and obtaining their attention for the entire duration of the advertisement. Consumers are viewing these native ads in a setting where they are already viewing content that interests them. Native advertisements are entertaining and engaging which leads to their effectiveness. The key to engaging the consumer is creativity. If the native advertisement is creative, the consumer will find it captivating and fun because it is appearing in a content setting that they were already seeking out. An example of native advertising that we, as consumers, view every day is branded content on Instagram.

BACKGROUND

In 2010 an app called “Instagram” was released and swept the nation. Instagram is a “community of more than 300 million users who capture and share the world’s moments on the service” allowing consumers to get a sneak peak into the lives of their peers, celebrities, and other civilians across the world (instagram.com, 2016). After 2 months, the app had 1 million users and not even a full year after its launch, Instagram had 10 million users worldwide (wersm.com, 2013). Kevin Systrom and Mike Krieger are the masterminds behind the app that now dominates all other forms of social media. Kevin Systrom is the CEO and co-founder of Instagram. When Systrom first began conjuring up this idea of Instagram, he “focused on simplicity and inspiring creativity through solving problems with thoughtful product design” which ultimately lead to the “home for visual storytelling” (instagram.com, 2016). Mike Krieger is the technical lead and co-founder of Instagram. Krieger’s main focus is “building products that bring out the creativity in all of us” (instagram.com, 2016). Within the company, Instagram has 8 major teams: Data & Analytics, Sales & Business Development, Software Engineering, Marketing, Design & User Experience, People & Recruiting, Interns & Co-Ops, and Communications & Public Policy (instagram.com, 2016). The main Instagram Headquarters is located in Menlo Park, CA. However, there are also offices in London and Hamburg, Germany.

ASSETS

In 2012, Facebook bought Instagram for $1 billion, so Instagram itself does not own anything (techcrunch.com, 2012). Its main asset is that brands can utilize it to promote themselves by paying for sponsorship spots. By partnering with Instagram, brands have a platform to promote themselves on visually. But, in order for content to make its way to your phone screen, it most likely has to pass through several hands first. The CMO of a company (in this case, let’s take J.Crew) first decides that he or she would like to set a new goal for their products. If this goal can be solved through advertising, they either approach their in-house advertising agency, or in this case, a boutique creative agency known as The Mobile Media Lab. J.Crew will then work directly with their creative agency to design an advertisement that reaches their marketing, media, and creative goals. The Mobile Media Lab’s media team then works with Instagram to figure out when this content will be seen, by who, and for how much (themobilemedialab.com, 2016). “So far there have been 500 campaigns in total globally and Instagram states that 97% of those campaigns have generated a significant uplift in brand recall, 2.7 times higher than the Nielsen control group” (econsultancy.com, 2015). Brand Recall is a way of measuring the effectiveness of an ad. This is done by showing the ad to a group of people and then at a later point in time, asking those same people if they can remember the ad (aib.net, 2012).

BUSINESS MODEL

The business model for Instagram began with the approach, “Product first, money later” (techina.com, 2012). For Instagram, having millions of dedicated users while generating no revenue worked out extremely well considering it led to a $1 billion buyout which ensured Instagram’s long lasting presence in the digital world. To generate revenue, an advertising model was produced. The plan was to allow advertisers to pay for sponsorships and accounts on Instagram. It was implemented with very similar algorithms Facebook uses when including branded content. On January 18, 2016, Instagram announced its plans to “rapidly expand its advertising model and ramp up its efforts with small businesses and users outside the US” (ft.com, 2016). This would be accomplished by working with the Facebook sales team. The implementation of branded content in the app has been so successful that they are working to create more profitable ideas.

REVENUE MODEL

Facebook buying out Instagram is what sparked revenue for Instagram and what lead to the app becoming monetized. Instagram still had intent to remain a somewhat independent “standalone photo app” (techcrunch.com, 2012). CEO Kevin Systrom stated “it’s important to be clear that Instagram is not going away” (techcrunch.com, 2012). In 2015, Instagram was “projected to generate about $700 million in revenue and $5.8 billion in revenue by 2020” (mashable.com, 2015). The analyst for Instagram released a statement saying, “Given the user scale, adv. interest, shifting TV ad spend to Digital and FB’s monetization capabilities, we are more confident in our Instagram revenue ramp from $0.7BN in ’15 to $5.8BN in ’20” (mashable.com, 2015). Although Facebook bought Instagram in 2012, advertisements were not introduced to the app until late 2013, so the monetization of the app was gradual rather than all at once (mashable.com, 2015).

NEW INNOVATIONS

Instagram has taken its advertising to a new level by introducing clickable ads. Originally, it was not possible to open a URL from an Instagram feed for the creators feared that people would divert and begin browsing other webpages (nativeadvertisinginstitute.com, 2015). Branded content implemented into Instagram was successful so advertisers wanted more from the app. “For the first time, Instagram will start showing clickable links on a limited basis in the feed, […] letting the user swipe through a series of four branded images in sequence” (nativeadvertisinginstitute.com, 2015). To avoid users visiting other sites, Instagram created a ‘Learn More’ button which will bring the user to “an internal browser within Instagram” so the user can “quickly jump back to the feed” (nativeadvertisinginstitute.com, 2015). If this new tool is appreciated by the users, Instagram will consider allowing the tool to be available for all users, not just advertisers.

Works Cited

About Us. (n.d.). Retrieved February 09, 2016, from https://www.instagram.com/about/us/

Constine, J., & Cutler, K. (2012, April 9). Facebook Buys Instagram For $1 Billion, Turns

Budding Rival Into Its Standalone Photo App. Retrieved February 09, 2016, from

http://techcrunch.com/2012/04/09/facebook-to-acquire-instagram-for-1-billion/

Fiegerman, S. (2015, February 19). Instagram revenue projected to hit $5.8 billion in 2020, analyst says. Retrieved February 09, 2016, from

http://mashable.com/2015/02/19/instagram-revenue-estimate-2020/#njwuzoJC5iqM

Home. (n.d.). Retrieved February 09, 2016, from http://www.iab.com/

Instagram Business. (n.d.). Retrieved February 09, 2016, from

https://business.instagram.com/gettingstarted

Jensen, J. (2015, August 11). The Power Of Native Advertising With Instagram. Retrieved February 09, 2016, from

http://www.hostgator.com/blog/2015/08/11/the-power-of-native-advertising-with- instagram/

Lund, A. H. (2015, March 05). Instagram now allows clickable ads – Native Advertising Institute. Retrieved February 09, 2016, from

http://nativeadvertisinginstitute.com/blog/instagram-now-allows-clickable-ads/

Native Advertising – The Official Definition. (n.d.). Retrieved February 09, 2016, from

http://www.sharethrough.com/nativeadvertising/

Rabe, E. (2015, September 25). 5 Things You Need to Know about Instagram’s Native Ads. Retrieved February 09, 2016, from

http://pubnative.net/blog/instagram-native-advertising/

Ratcliff, C. (2015, July 13). How brands are using Instagram ads. Retrieved February 23, 2016, from https://econsultancy.com/blog/66689-how-brands-are-using-instagram-ads/

The Mobile Media Lab. (n.d.). Retrieved February 23, 2016, from http://themobilemedialab.com/

G. (2014, January 03). The Complete History of Instagram. Retrieved February 09, 2016, from http://wersm.com/the-complete-history-of-instagram/#!prettyPhoto

Wee, W. (2012, June 27). Tech in Asia – Connecting Asia’s startup ecosystem. Retrieved February 09, 2016, from https://www.techinasia.com/instagram-business-model

WhatsApp and Instagram shift business models – FT.com. (n.d.). Retrieved February 09, 2016, from http://www.ft.com/cms/s/0/fac63040- bddd-11e5-9fdb-87b8d15baec2.html#axzz3ze9jWFIy

Posted in Uncategorized | Leave a comment

Music Industry Production: Sony Music Entertainment

sonymusic3

Company Background and Management

Sony Music Entertainment is a music publishing company run by the Sony Corporation (Bloomberg Business). According to the Sony Music Entertainment Facebook page, there have been several important milestones in the history of the company. The original company was founded in 1888, and was known as the American Record Corporation. Then in 1934, the company acquired Columbia Records. Four short years later, CBS bought ARC, and a few years after founded Epic Records. In 1968, the company was owned 50-50 by CBS and Sony. The name then changed to CBS/Sony Records, Inc. It was not until twenty years after this that Sony owned the entire company. In 2004, the company took on the name that it is still known by today: Sony Music Entertainment (Sony Music Entertainment, 2008).

Continue reading

Posted in Music | Leave a comment

Marketing and Promotion of Film:BRINK

brink_home

  • About

BRINK is a company focusing on marketing and promotion. However, “BRINK is not an ad agency. We are storytellers. We build a goals-focused narrative to introduce your brand to new audiences and most importantly, get results” (Brink.com, 2016). Continue reading

Posted in Film | Leave a comment

Film Distribution: Fox Searchlight Pictures

fb_icon_fsl

Background

In the mid-1990’s, a new trend arrived in the film industry: creating or buying distribution rights for low-budget or independent films, quickly releasing them, and yielding huge profits despite less than blockbuster revenues. Noticing the success of Disney’s independent arm Miramax, run by the Weinsteins, 20th Century Fox decided to enter the market in 1994 and create Fox Searchlight Pictures (Nataf, 2011). Continue reading

Posted in Film | Leave a comment

Post-production for Advertising: Framestore

 

35ec6588820737eed5f4515da67a1be8_400x400

Company history:

Framestore is a visual effects company that works on commercials, feature films, music videos, animation, feature animation and digital. In 1986, Framestore was formed in U.K. by only five artists: Sharon Reed, William Sargent, Jonathan Hills Mike McGee and Alison Turner. In 1997, Framestore bought the Computer Film Company(CFC). Continue reading

Posted in Advertising | Leave a comment

Lights, Camera, Action! The Experts Behind the Screen

mjzIt’s that time of the year again. Friends and families are gathered around the big screen. Plates are full of Pinterest-inspired finger foods. Some are sporting their teams over-sized jersey and there’s eye black smeared on nearly every face. This can only mean one thing- SUPER BOWL!

If you asked the average American citizen about their favorite part of the Super Bowl, you might get answers like the half time show, the food or maybe even the game. If you asked me, I’d say that I tune in for the men in tight pants running around tackling each other. Continue reading

Posted in Advertising | Leave a comment

IP: The Business of PewDiePie

Credit: EurUni

King PewDiePie/Credit: EurUni

Video games often play a huge role in one’s childhood and leisure time. Today, millions of children and teens around the globe spend a significant portion of time glued to their TV screens and consoles, engaging in the newest and finest entertainment, ranging from basketball to war-based games. In 2013, studies reported that gamers aged 13 or older in the U.S. spent 6.3 hours per week playing video games (Aamoth, 2014). Many people wish they could turn their hobby of playing video games into a real career. Well, thanks to the emergence of online video platforms, such as YouTube, and the power of social media in today’s age, that dream has become a reality for one lucky man. Continue reading

Posted in Online video | Leave a comment

Intellectual Property of Film: The Coen Brothers

Filmakers Ethan Coen, left and Joel Coen, pose for a portrait while promoting their new movie "No Country For Old Men," at the Four Seasons Hotel in Los Angeles, Sunday, Nov. 4, 2007. (AP Photo/Stefano Paltera)

Few filmmakers have successfully written, directed and produced such a vast variety of movies as Joel and Ethan Coen, famously referred to as The Coen Brothers. Their creation and acquisition of intellectual property for film has been characterized as “genre-busting,” as they have covered everything from comedy to drama, romance to thriller, and everything in between (Callaghan, n.d.). The brothers’ success led them to launch their own production company, Mike Zoss Productions, which has produced twelve movies since 2000 (Internet Movie Database, n.d.). Continue reading

Posted in Film | Leave a comment

Radio Intellectual Property: Westwood One’s Country Countdown USA

WESTWOOD_ONE-1024x551

About

Westwood One is a multifaceted mass media provider specializing in radio broadcasting and digital audio content. Headquartered in New York, New York, the company also holds offices in Chicago, Nashville, Denver, Detroit, Los Angeles, Atlanta, Washington D.C. and Dallas (“Contact,” n.d.). Through these nine offices it gainfully employs approximately 425 people (“Company Overview of Westwood One, Inc.,” n.d.). Westwood One is owned by Cumulus Media, a mass media and broadcasting company (“Cumulus,” n.d.). Continue reading

Posted in Radio | Leave a comment