Gonzalo Martin's List: Contenidos para la red

• As the entertainment industry figures out how original content produced for the Web fits in with traditionally produced television fare distributed on the Internet, digital power brokers are trying to position themselves to thrive in the new medium.
• "Every deal I do is different from the next one. On the TV side, the structure of the business is set in stone and the day-to-day is already established, whereas in this space, the business model is changing every two to three months."
• Mr. Ashtari introduced the concept to executives at Apple's iTunes store and secured home-page placement for the Web musical. "We went up [to Apple headquarters] and showed it to them and established the relationship and did the iTunes deal," he said
• Mr. Ashtari also has secured Hulu and uStream deals for client Gary Vaynerchuk, the charismatic host of the popular Web show "Wine Library TV."
• The CAA agent also represents Electric Farm Entertainment, Revision3 and Rocketboom
• When Barrett Garese signed the creators of "Epic Fu" as a client, his first priority was to turn the Web show into their only job
• There is money to be made and the money is continuing to go up as this medium expands, but our first job with a lot of the people we work with is often taking it from being a hobby to being the only job." 
  
• UTA is one of the first agencies to establish a digital department, and Mr. Garese works closely with Jason Nadler, the department head. UTA now is home to many of the leading independent voices in Web video, such as the creators of "Ask a Ninja"; Tim Street, the executive producer of "French Maid TV"; Loud Pictures, the production team behind the successful Web series "Pink"; comedy duo Smosh; and new-media producer Sarah Szalavitz.
• Endeavor's new-media focus is on finding digital opportunities for the agency's clients. The new-media department is structured to reflect that integrated approach. "We have one agent from every single department of the company in our new-media team, and it's part of their responsibilities now," Mr. Jacquemin said.
• "Mommycast," which has earned more than 150 million downloads, and Amanda Congdon, the former "Rocketboom" star. Mr. Jacquemin played a key role in brokering the deal to license Ms. Congdon's new Web show "Sometimes Daily" to Media Rights Capital.
• It's no surprise, then, that he manages the careers of some of the brightest Web talents, such as "Tekzilla" host Veronica Belmont, "Diggnation" star Alex Albrecht and Felicia Day, creator of hit Web show "The Guild" and a lead in "Dr. Horrible's Sing-Along Blog."
• he negotiated the talent deal for ICM client Rosario Dawson to star in the Web series "Gemini Division." As the senior VP of business affairs, he continues to work with ICM agents and executives to negotiate deals in the motion picture area. He is also an attorney and adjunct assistant law professor at Southwestern Law School.
• oel Wright isn't in the business of looking for Web celebrities. "It's hard enough to find super-talented people to represent in film and television," Mr. Wright said. As the head of the new-media division at Paradigm, his job is to find digital opportunities for the agency's existing film, TV and music clients.

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• The Los Angeles-based company is to be a pure-play studio. Its philosophy: “Content should be made for the platform in which it’s going to be distributed,” said CEO Scott Erlich. There needs to be something about the property that makes it uniquely well-suited to the the Internet.” In a move to avoid conflicts of interests that others have fallen into by controlling both content creation and distribution, however, Agility won’t be building a video portal.
• The company’s aim is to make “multiplatform” shows that are “quality but with economics that work,” said Chief Creative Officer Keith Quinn. On the revenue side, Agility has brought in Shannon Pruitt to oversee sponsorship and integrated marketing, areas in which she gained some $100 million worth of experience as part of her previous work on shows like American Idol.
• Agility aims to work with professional talent, aligning it with other Hollywood-type digital studios like 60Frames and MRC. Quinn actually mentioned Seth MacFarlane’s MRC deal as something Agility would like to emulate.

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• Web shows and producers increasingly say they need a big draw to break away from the pack. A celebrity, brand or deal with a company such as MySpace, Google or NBC can be that silver bullet. But networks need the little guys too, because a pair-up with an independent can help them minimize risk and manage production costs when launching new Web programs.
• Under the NBC-60 Frames deal announced last week, NBC is now pitching advertisers on a slate of original digital shows produced by 60 Frames, a Web financing and distribution shop founded by former UTA agent Brent Weinstein. If advertisers pony up, the shows will run across broadband, mobile, video-on-demand and other platforms.
• That business model ensures that new digital programs are already financed and paid for before they even go into production, a smart bet for a new business in a down economy. NBC expects such alliances to become more commonplace, perhaps signaling that another phase of consolidation in online video has begun, as the indies clamber for dance partners
• "Given the down economy in general and the ongoing scramble for broadband video ad dollars in particular, companies like NBCU, which have strong ad relationships and access to budgets, have even more partnership appeal,"
• A willingness to entertain a number of flexible business models is an asset to a Web video company, Mr. Weinstein said. Such partnerships are not new to Web producers or to 60 Frames; his company previously inked a deal with MySpace to distribute the 60 Frames fashion advice show "Who What Wear."

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• Revenue generated with any piece of Lionsgate content is recorded and documented,
• The deal has similarities to one struck between YouTube and CBS nearly two years ago, just before Google announced its acquisition of YouTube
• "Revenue generated with any piece of Lionsgate content is recorded and documented
• YouTube and Lionsgate will share advertising revenue from the channel, which will likely be launched before Labor Day. The number of clips on the channel, Schmidt said, is "up to the content owner. (But) it's in their best interest (to have) more

• "Revenue generated with any piece of Lionsgate content is recorded and documented," said Curt Marvis, Lionsgate's president of digital media. "Splits are still to be determined, but there will be a trail of knowledge. I think that's still being discussed (with guilds)."
• "(The partnership) grew out of discussions about claiming -- the process of getting content off YouTube," Marvis said. "But if there's an audience for our content, it was like, 'Wait a minute. Let's not put our heads in the sands here. Let's give them what they want and get revenue from it.'
• Marvis added that Lionsgate also planned to use its YouTube relationship to remove content. "If we see clips from 'Saw 5' and it's still in its theatrical window, we'll see that it's pulled down," he said.

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