Netflix released its Q1 2013 earnings today and amid all its financial reporting, the video company revealed that it is doing quite well when it comes to original programming. From the political drama House of Cards to Eli Roth’s thriller Hemlock Grove, these programs have certainly shown a new way for Netflix to drive more revenue.

Having debuted at the beginning of February, House of Cards, Netflix’s second Original series was received very favorably by many critics and the public. Netflix did something very unconventional with the series, electing to release all 13 episodes simultaneously instead of the traditional schedule of one a week. The company said in its investor letter that the reception increased its confidence in its ability to stream relevant shows that its 36 million users would enjoy. Additionally:

The high level of viewer satisfaction implies we were able to target the right audience without the benefit of existing broadcast or cable viewing data and the strong viewing across all our markets gives us faith in our ability to create global content brands in a cost-effective, efficient way.

What this statement means is that Netflix feels vindicated by its decision and has renewed confidence that other series such as Hemlock Grove will encounter similar or better results. The results of today’s earnings combined with the success of the series’ inaugural season has helped to bolster investor confidence as well, many who felt that by releasing all 13 episodes, new subscribers would sign up just for the free trial and then abandon the service afterwards

Netflix knows this to not be true and followed through with the release of its next Original series, Hemlock Grove. Following in the footsteps of House of Cards, the company once again released all 13 episodes and it wound up being watched by more members globally in its first weekend than House of Cards.

Already, Netflix has lined up several more series to air exclusively on its platform, including the comedy cult-favorite Arrested Development, Orange Is the New Black, the DreamWorks Animation series Turbo: F.A.S.T., and a science-fiction thriller called Sense8 created by the Wachowski siblings.


The company believes that it’s Original series will help drive user growth and adoption and it is already looking to add more seasons to House of Cards and others. Of note, Netflix said in its investor letter that “Harry Potter was not a phenomenon in book one, compared to later books in the series.” Some would probably interpret this to mean that the service is far from done with its programming and is banking on it to succeed in the long term.

Photo credit: Justin Sullivan/Getty Images

 

Kellan Media principal, Kelly Sallaway announced the premiere of the motion picture "Speak No Evil" on May 24, 2014 in Tempe, Arizona.
The film, which was shot in October of 2103 was produced by Sallaway and directed by Roze.
" Its was a lot of fun to produce a feature-length film" said Sallaway "The skill sets are the same as TV although the movie world operates at a bit different pace. I can't wait to see the movie, but I'm also ready to get back to our core work here , producing TV."
I really enjoy unscripted TV" continued Sallaway, "Truth is more unpredictable than fiction."

VEGAS: 
2013 Metamorphosis

The changing face of media and entertainment

What would make 1000 broadcast industry professionals fly to a desert town in the USA but the NAB show, (National Association of Broadcasters) at the Las Vegas Convention center. Nothing beats a face to face so no matter the advancements in technology, tele and video conferencing its still useful and fun to meet colleague in person, shake hands and discover the face on the other side of an email. You can't Skype a cocktail.


NAB's catchphrase is “Where content comes to life” Feeling a bit overwhelmed an under educated amidst all these satellite transmitters, sophisticated devices, hi tech computers, cameras and TV trucks (not to mention lots of robotic helicopters) we have to remind ourselves that the content transmitted over all these devices and delivered to eager consumers has to be created by someone.

As content creators we are the first step, the action button that gives this vast array of technology it reason d'etre. Instead of being intimidated we as writers, directors and production professionals should celebrate the process, realize our important role and that there are needs to be fulfilled at every step of the content delivery system.

The changing face of media and entertaiment speaks to the rapid chcnages in technology. On the industry side as it is being created and delivererd but also how the media is being consumed. The end users wants more, better, faster and though different devices. From 84inch HD TV screens to a 4 inch mobile display. Content has to translate to all the avenues , it has to travel and speak to the viewer. Ultimately it doesnt matter if it arrives in 3D and surround sound or on a phone it is the content manufacturers role to create something the viewer wants. No matter how it gets there it is our responsibility to employ both our art and craft to create that compelling story.  

How to get cast in a Reality Show

 Be yourself. This is especially good if your self is outgoing and outrageous. But if you aren’t that loudest person in the room it doesn’t mean you wont be cast.

Unscripted shows are looking for interesting characters. People with multiple layers. Everyone has a lot of facets to their personality but in getting on and staying on TV we need to see them all.

Be vunerable.  The Producers of a show want to know that you will let them and the audience ‘in’. You have to be able to reveal what you are thinking and more importantly, what you’re feeling. You don’t have to reveal all the intimate details of every part of your history- just ne willing to take the audience on an authentic ride, let them know what you are doing and what you are feeling as we go along.

Be communicative. We have a saying when we think someone is good for Reality TV – that they can “Talk to a tree”. Foliage aside, the ability to communicate- and keep communicating makes you a better candidate. This is unscripted TV so you have to have your own script already in your head, being delivered all the time. 


Kelly Sallaway
April 5,2013

What do you think was the biggest TV biz news story of 2012? 


Peter Block, President and GM of Fear Net

It's Netflix, but I just can't decide which story is bigger. It's either their output deal with Disney or the manner in which they are re-launching their original series (beginning with House of Cards).

Charlie Collier, President and GM, AMC

It was the Olympics  for many reasons. NBC holding back events (of their choosing) to air in primetime is a big deal on multiple levels that was good for consumers and business people alike. 

Nancy Dubuc, President Entertainment & Media, A+E
The massive success of Hatfields & McCoys resonated throughout the industry. It was clearly a home run for History, establishing us as a major player in the scripted genre, and it re-ignited scripted mini-series in basic cable.

Donna Ebbs, SVP Programming, HUB
This was the year that "crowdsourcing" became such an undeniable force in entertainment. 


Cathy Hetzel, Corporate President & President, AMI Division, Rentrak
Video on Demand on every platform and the Obama's campaign use of Rentrak's advanced service for targeting TV buys.

David Kleeman, President, American Center for Children and Media
It's been the fall of gatekeepers. Experienced producers, newcomers and even kids have an increasingly variety of ways to distribute content that doesn't depend on the real estate of a scheduled channel.

Salaam Coleman Smith, President, Style Media
The Walking Dead's massive 10.9 million viewers for its October 2012 premiere. Cable's zombie hit beat all broadcast shows that fall and has already delivered record-breaking success in 2013

Ken Solomon, Chairman, CEO, Tennis Channel
Well, not to make this all about us, but Tennis Channel's win on behalf of independent voices does come to mind. This past summer, for the first time in history, the FCC upheld Congressional law that says television providers are not allowed to use their distribution muscle to discriminate against unaffiliated networks that compete with their own channels.

from:
Cable & Research's Most Intriguing People: Special Report