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We have seen technology changes the standard business model in all industries sooner or later. In 2012 it is sooner for the television industry in meeting the evolving demands of consumers and advertisers.
Consumers time shift by watching television programs via DVR, the Internet, and mobile phones. They expect video-on-demand and video-on-the-go to meet their needs. Consumers want more programming choices and access options in entertainment models.
Advertisers want increased access distribution and micro-demographic targeting options. Networks need to meet these industry evolution demands with the balance of their own lower risk and lower cost model realities to remain viable in today’s entertainment world. Investors are looking for technology and business concept advances to be aligned with trending that really matters and enhances the bottom line.
The new media model has a lot of evolutionary standards to meet. Beverly Hills based Morph Syndicate is on the leading edge with its “Closed Creative Collective” (C3) branded production model and proof of concept original digital series programming. Networks and advertisers are leaning forward and taking notice. Consumers will take notice too as Networks produce more original digital series programming in the very near future.
Morph Syndicate is owned and run by the partners Matthew and Athena Ashburn. Matthew is a visionary and a Media Entrepreneur. He has authored several models in the business of Branded Content Production, Advertisement Distribution, Ad Campaign Clustering, and Digital Content Programming.
Starting with authoring the production model known as C3, Matthew is leveraging creative and managerial talent with current media technologies to produce original content of all types: Commercials, Broadcast Quality Content, Feature Films, etc. He is the Co-Creator of the original sci-fi digital series “20 Dollar”, a 21st Century “Twilight Zone”, with first season distributed. He has also just launched the first episode of season 1 of the original family/comedy/magic digital series the “Funniest Faces Show”.
Athena Ashburn is an award-winning actress, producer, and writer. She has produced award-winning feature films associated with studios including Weinstein Company, MGM, HBO, First Independent Pictures, and Roadside Attractions.
Athena served as co-producer on Emilio Estevez’ epic ensemble piece, “Bobby“, which was nominated for “Best Picture” at 2007 Golden Globes. Currently she is Executive Producer with Informant Media ("Crazy Heart" - Oscar winner) on the feature Film “Brundibar“, based on a true story slated for a 2013 release.
With networks reorganizing to meet the 21st century consumer demand from network to cable and Internet, Matthew explains the top three ways the C3 model facilitates this evolution.
“Our ‘Closed Creative Collective’ is a comprehensive media production model, utilized in producing original entertainment and advertisement programming keeping with the industry standards for broadcast quality. Utilizing the C3 model provides a cost reduction of 30% to 50% to current Network or Cable production cost structures.”
“The C3 business model allows our clients’ media strategies to relate to a new paradigm, which has been coined – Constant Programming. This simply is based on the computation of audio/video content distributed across all devices and delivery platforms at any given moment to consumers globally.”
“C3 puts Networks and advertisers in the ‘Digital Content Market’ immediately and efficiently. C3’s offers Networks a branded production model, the means for producing sustainable price-points, limitless amounts of genre content, and delivery across all channels. Advertisers have the capability to produce an unlimited amount of commercials for enhanced visibility.”
Matthew adds, “C3 creates more jobs in the entertainment industry by developing a two tier system that opens up the current one tier entertainment model. Programming is directed by the Networks in line with current quality standards, but there is a more constant development of programming which can be concept tested first in a digital only medium before moving to the Network programming or can be slated up front as programming meant for alternative distribution only.”
It is easy to see C3 has a huge potential for niche programming to bring new audiences to Networks, new efficiency for advertisers, and more job possibilities for talent. Will consumers see more independent type programming in all shows – drama, comedy, children, political, educational, etc.?
Matthew perceives, “Yes, the C3 model produces an expansive amount of genre and niche original content by highly talented creative and managerial professionals, thus providing a business model for funding and pricing accordingly to market demand across digital media markets.
He expands, “The C3 model is a paradigm shift from ‘Large’ TV productions to a model of less expensive, more efficient, and faster to market productions which are inherently going to have that "Independent" look and feel, with the break- away successes as clearly having a mass market appeal. The content and production quality will remain the same or better, for the C3 production model is designed to produce the bench-mark of ‘Broadcast Quality’ programming at consistent rates not previously capable in quality and quantity.”
Matthew interprets how he sees new technologies being mainstreamed in the entertainment industry with the C3 media model, “The leveraging of technology is best utilized for production and distribution of entertainment and advertisement programming, thus media conglomerates and advertisers will gain the competitive edge with strategies delivering a ‘Constant Programming’ approach to interconnecting the consumers experience to an exponential revenue model across all devices and platforms.”
There are major differences between the TV pilot parameter for the traditional model and the C3 model for the Networks that work in their favor. Matthew proposes, “The Networks TV pilot model is a ‘High Stakes’ game with budgets in the multi-millions, Morph Syndicate is bringing to market the C3 branded production model for efficiently producing a high quality and quantity of entertainment and advertisement content. We provide clients with entertainment and advertisement production strategies across devices and platforms, so to provide price-points sustainable on a per devices and platform revenue model, with competitive media products and services that fully monetize digital entertainment.”
How is a show pitch different and alike? Athena summarizes, “We pitch to clients once an negotiated budget is in place and the formulation of a media strategy is defined. We then present several Intellectual Properties in the form of shows, movies, and commercials with choices from the best qualified C3 branded productions. The clients are presented with an array of project variables in order to produce their most optimal media strategy.”
Athena continues with the benefits of the C3 model leveraging risk to reward by developing more entertainment talent at a lower cost and risk, “The old school MGM studio talent model is alive with the implementation of the C3 production model in a good way. Included in this model is the discovering of actors, writers, directors, etc. and bringing them to market without the inherent risk and rewards associated historically with the Hollywood revenues model.”
“The value creation comes from our people and their proficiency and synergy. They individually and collectively bring to our clients’ projects with a resulting market advantage defined by each of the specific C3 branded productions. We evaluate each creative/management persons for their skill sets within a rating system of Core, Median, and Standard for the use in the assignment and/or placement within a media project.”
The talent in the various entertainment Guilds must welcome a business model that expanses their possibility for work, especially in a slow moving economy. Matthew agrees, “As an entrepreneur my heart is connected to my ambitions. C3 creates a viable business model for the digital content market and provides market growth and sustainable jobs.” Athena adds, “We are confident the amount of talent currently ‘sitting on the side-lines’ being placed in highly skilled jobs with industry rates varying from Guild enacted and/or market acceptable contractor rates, offers the talent and their perspective Guilds a means not previously available to them. “
Morph Syndicate is an innovator, and Networks will benefit from its new ‘Minor Leagues to Major Leagues’ strategy. Matthew notes, “C3’s early low cost structure and vetted audiences approach with quantifiable analysis benefits Networks as well as advertisers for their early involvement with ad campaigns and ad buys associated with the shows. The success rate for original programming will increase with the business model for shows to find their respective niche markets as competition expands the ‘Breakout’ shows to the major markets.”
Matthew expounds, “Advertisers benefit mostly by media conglomerates adopting the "Constant Programming" approach to interconnecting the consumers experience to an exponential revenue model across all devices and platforms. With this evolution to programming, advertisers have a paradigm for strategic campaigns being more efficient with the capability for numerous versions and subsequent placement buys into niche markets with intersecting points across devices and platforms.”
He summarizes, “The digital media markets are currently with ‘one foot in the past and one in the future.’ C3 places both feet firmly in the present. Networks are able to secure a sustainable market system redefining digital content by the retooling of the production model.”
Consumers and investors are positioned to be the most positively impacted by a paradigm shift that takes full advantage of television’s evolution. And that is the best bet for Morph Syndicate, a company which is not afraid to lead with a new concept and business model that embraces television’s evolution with innovative and effective Network programming models and investments.