Probability of Netflix changing anything internally along with other consolidating SVOD divisions until court mandated like the recent Epic Games Vs Google victory under different developer competition law arguments = low
Probability with incentives to get more global action from cinema and limited series markets to keep up with the Netflix enterprise model if it’s shown to be able to be brokered with global pre sales and guaranteed minimums distributing risk = high
More specificity in modeling with cinema versus limited series in particular (thinking of Shoguns renewal on FX after its success after it was billed as a). Kevin Costner’s Horizon : An American Saga while it flopped in the theaters and is being reported to possibly being pulled from theatrical given it was a wholly independently financed project with some of his own money there still is not a lot of curated analysis on mid budget formulas in particular whether it’s micro budget sub $3M like 2014’s What We Do In The Shadows that later sold to FX or $100 M plus like Horizon (I still suspect to be wildly excessive). Studios like . . . Lions Gate per instance if they want to keep up with Netflix need to be able to license to them to exploit across seeding the I.P. while we license them our rights in kind. What’s it look like at scale as an asset class , what are the competitive threats and conflicts of interest with incentives , what is the fiscal reality versus incumbent executive management control practices
Hi Roy , your analysis is spot on . The future will be streaming but it needs a different tech approach to make it work . Movielabs have been preaching to the studios for years about Vision 2030 but like Kodak and the invention of the Digital Camera they can’t look pivot away from their current structures to start a radical new approach . Dreambird is creating a 21st century filmtech stricture that represents a better theory than the 120 year old one initiated by Adolf Zukor. It will rejuvenate the Indy film sector .
Probability of Netflix changing anything internally along with other consolidating SVOD divisions until court mandated like the recent Epic Games Vs Google victory under different developer competition law arguments = low
Probability with incentives to get more global action from cinema and limited series markets to keep up with the Netflix enterprise model if it’s shown to be able to be brokered with global pre sales and guaranteed minimums distributing risk = high
More specificity in modeling with cinema versus limited series in particular (thinking of Shoguns renewal on FX after its success after it was billed as a). Kevin Costner’s Horizon : An American Saga while it flopped in the theaters and is being reported to possibly being pulled from theatrical given it was a wholly independently financed project with some of his own money there still is not a lot of curated analysis on mid budget formulas in particular whether it’s micro budget sub $3M like 2014’s What We Do In The Shadows that later sold to FX or $100 M plus like Horizon (I still suspect to be wildly excessive). Studios like . . . Lions Gate per instance if they want to keep up with Netflix need to be able to license to them to exploit across seeding the I.P. while we license them our rights in kind. What’s it look like at scale as an asset class , what are the competitive threats and conflicts of interest with incentives , what is the fiscal reality versus incumbent executive management control practices
Hi Roy , your analysis is spot on . The future will be streaming but it needs a different tech approach to make it work . Movielabs have been preaching to the studios for years about Vision 2030 but like Kodak and the invention of the Digital Camera they can’t look pivot away from their current structures to start a radical new approach . Dreambird is creating a 21st century filmtech stricture that represents a better theory than the 120 year old one initiated by Adolf Zukor. It will rejuvenate the Indy film sector .