Top 9 How Do Web Series Make Money Best 131 Answer

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First—How Are Web Series Monetized? Most indie creators fund and monetize web series through AdSense and pay-per-view or subscription-based Video on Demand (VOD).Actors are paid in the range of Rs 50 lakh to Rs 1.5 crore for a series, which is significantly less than their movie fee.Most often they are looking for 8-10 episodes per season, and the average cost per episode being in the $15k range. That means your overall budget for a 10 episode season is $50k-$400k (there are exceptions where it’s a lot more but that tends to be reserved for major talent).

Best Web Series In World : Most Popular Web Series in the World

Mindhunter.
Made in Heaven.
Master of None.
The Man in High Castle.
GLOW.
The Boys.
Squid Game.
Money Heist.

Contents

How much do web series actors make?

Actors are paid in the range of Rs 50 lakh to Rs 1.5 crore for a series, which is significantly less than their movie fee.

How much money do you need to make a web series?

Most often they are looking for 8-10 episodes per season, and the average cost per episode being in the $15k range. That means your overall budget for a 10 episode season is $50k-$400k (there are exceptions where it’s a lot more but that tends to be reserved for major talent).

How do TV series get paid?

The producer receives the budget they need to make the show, and the filming process begins. The network, or broadcaster, then receives their money back through commercials. Ads are the number one way that TV shows make money. It isn’t enough that they only have ads, however.

Which web series earned the most?

Best Web Series In World : Most Popular Web Series in the World

Mindhunter.
Made in Heaven.
Master of None.
The Man in High Castle.
GLOW.
The Boys.
Squid Game.
Money Heist.

Who is lowest paid actor?

1. Jonah Hill. Jonah Hill voluntary accepted the Screen Actors Guild (SAG) minimum salary just so he could work with director Martin Scorsese. Hill told The Howard Stern Show he jumped at the chance to film for seven months on a thin $60,000 salary claiming, “They gave me the lowest amount of money possible.

How much Hina Khan earns?

Hina Khan is currently the highest paid actress in India as she reportedly charges Rs 2 lakh per episode.

How do webseries make money in India?

Most indie creators fund and monetize web series through AdSense and pay-per-view or subscription-based Video on Demand (VOD). … People are on there to watch videos.

How do I create my own webseries?

Here are seven key steps to start a web series.

Write your episodes.
Factor in pre-production and budget.
Find your cast and crew.
Plan, plan, plan.
Schedule your shoot.
Be prepared to edit.
Account for distribution.

How do webseries make money on Netflix?

Netflix makes its revenue purely through its subscribers. The Netflix revenue model followed is the (Subscription Video on Demand) (SVOD) model. The subscribers pay the subscription fee to get access to the various content on Netflix.

Do actors get paid for streaming?

With high-budget subscription streaming on platforms like Disney+, performers can begin to earn residual pay after the first 90 days of a program going live. In theatrical films, the session fee covers a performer’s work during production plus the theatrical run of that project.

Who is the highest paid actor?

Highest annual earnings

Rank	Actor	Earnings
1	Dwayne Johnson	$89.4 million
2	Chris Hemsworth	$76.4 million
3	Robert Downey Jr.	$66 million
4	Akshay Kumar	$65 million

Who gives money to TV channels?

TV channels earn a fancy amount of money mostly by advertising. It basically shows some seconds of advertisement in between its show and then charges some amount of money to the advertising company. The TV channels with the high TRP come out with the highest advertising rates.

Who is the No 1 web series in India?

1. Kota Factory. Created by TVF, Kota Factory is currently the most-watched Hindi web series.

Who is the No 1 web series in world?

1. Stranger Things (2016– )

What is the budget of Indian web series?

A single episode of a typical soap on a Hindi general entertainment channel costs ₹8-15 lakh. A web series on Hotstar, Netflix or Amazon Prime could cost between ₹70 lakh and ₹1 crore per episode. In some cases, this cost has escalated to ₹5 crore an episode, and could go up to ₹7-8 crore for top-notch content.

How much do Netflix actors make?

The average salary for an Actor is $35,529 per year in United States, which is 51% lower than the average Netflix salary of $72,998 per year for this job.

How much do actors earn per episode?

On network TV, the rate for a one-hour drama is currently $8,624 (eight days of work) and half-hour comedies pay $5,390 (five days of work).

How much do beginner actors get paid?

Actor salary varies widely, depending on experience, talent and location. According to the U.S. Bureau of Labor Statistics (BLS), actor salary in 2019 ranged from less than $9.05 per hour for entry-level actors to upwards of $61.74 per hour for experienced actors.

How much does a web series director earn?

Go for drama school directors compared to any other sources to prevent your web series going to junk. A good director will charge you anywhere between Rs 25,000 to Rs 100,000 per episode.

How OTT Platform Earn Money in Hindi | Netflix, Amazon Prime Videos

The Business of Web Series: What are the Returns on Online Episodic Content — Monetary or Otherwise? – MovieMaker Magazine

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The Business of Web Series: What are the Returns on Online Episodic Content — Monetary or Otherwise?

Horace & Pete exclusively on his website, In early 2016, comedian Louis C.K. released his original seriesexclusively on his website, louisck.net

Users paid per episode; there were 10 in total, each varying in length and cost. C.K. produced, directed, wrote, distributed, financed the series, and starred as Horace alongside Steve Buscemi, Edie Falco and Alan Alda.

The unorthodox format made C.K. determined to self-produce; he invested a reported $2 million into the episodes, which boast high production values, shot with four broadcast cameras and a state-of-the-art control room. But the direct-to-consumer sales came in way under the comedian’s projections, and in April C.K. announced that the weight of debt he was shouldering was starting to hurt.

This was sobering news for moviemakers inclined toward creating online episodic content, and begs the question: Are web series worth the financial investment? Sure, C.K. was operating on a more expensive scale than many, but for creators who lack his considerable fanbase, is there any hope for a positive cash outcome? And if not, what are the non-financial benefits that justify the considerable time and money that go into such a project?

We asked several moviemakers who’ve created and distributed web series—some of whom actually tried to turn a profit, some of whom largely eschewed the financial aspect—in order to get a handle on costs and returns.

First—How Are Web Series Monetized?

Most indie creators fund and monetize web series through AdSense and pay-per-view or subscription-based Video on Demand (VOD).

“From a revenue point of view, posting on YouTube with AdSense is the best,” said Brent Kado, a filmmaker and executive director of Chicago Comedy Film Festival, who teaches a course on developing online and mobile media content at Columbia College Chicago. “The perception is that YouTube is for amateurs, but YouTube has a built-in audience. People are on there to watch videos. So grab them and bring them to your network.”

YouTube is, by far, the most widely used video-sharing platform on the web, with a large international reach. Its program AdSense enables ads on videos and channels. YouTube’s algorithm determines the amount of money these ads generate, based on the number of clicks, the popularity of the content, and/or the length of time users watch the content. Filmmakers control the type, format and placement of the ads with no set-up fee. YouTube bills the advertisers directly and pays the filmmaker after he or she reaches a minimum threshold, also set by an internal formula.

On average creators receive $1 per 1,000 views, although this is by no means set in stone: “YouTube changes its policies and formulas all the time,” said Kado. “YouTube’s popularity means more competition for viewers and the revenue can be very low. Even a million views would not necessarily generate enough for a series to make a profit.”

With VOD platforms, viewers either pay a monthly subscription for video content or can buy or rent individual videos. One of the platforms dominating the VOD space is Vimeo on Demand, which acquired VHX, another VOD platform, in May. Vimeo offers a 90/10 revenue split (90 to the filmmaker); other VOD services, like Pivotshare, offer 70/30. YouTube itself launched its own subscription-based service, YouTube Red, earlier this year, which removes ads for paid viewers; revenue is split with creators based on their content’s “watch time.”

Case Study 1: Bad Timing

Shooting of season two of Bad Timing commenced in early 2016. Courtesy of YouTube’s Goldentusk Shooting of season two of Bad Timing commenced in early 2016. Courtesy of YouTube’s Goldentusk

Andy Goldenberg, a comedian based in L.A., set his series Bad Timing, which he wrote, edited and starred in, during a zombie apocalypse. In it, an IT guy and the woman of his dreams are the last people on the planet.

The first season contains 15 episodes, each three to five minutes in length, which Goldenberg released weekly in 2014. He also posted outtakes, behind-the-scenes footage, and held a live Google Hangout each week that the show aired. Bad Timing was nominated for Best Indie Series by the web video-honoring Streamy Awards. Goldenberg’s team began filming Season 2 in February 2016.

Funding Breakdown Costs for Season 1 Approx. $10,000. This includes production, post, advertising and film festival submissions Funding Indiegogo campaigns that raised almost $7,000; self-funding for the rest Earnings Breakdown Monetizaton YouTube AdSense Platforms YouTube, Vimeo, Funny Or Die Earnings Approx. $400 (A loss of $9,600) The Upshot “YouTube is an amazing training ground,” said Goldenberg. “It’s a huge, vocal community that has supported me. I got a lot out of my series—film festivals, friendships, new contacts, lessons learned.”

Case Study 2: BROTHERS

By writer/ director Emmett Jack Lundberg and producer Sheyam Ghieth, BROTHERS is a dramedy, shot docu-style, about four transgender men and their intersecting lives in Brooklyn. All are played by transgender male actors. The pilot and season one (seven episodes) was released in 2014. The series moved from YouTube to Amazon Prime in February 2016 with the help of a distribution company who reached out to them.

Director Emmett Jack Lundberg and DP Chris Rodriguez on the set of BROTHERS. Courtesy of BROTHERS Series Director Emmett Jack Lundberg and DP Chris Rodriguez on the set of BROTHERS. Courtesy of BROTHERS Series

The series has partnered with Outspeak, an online video network from The Huffington Post and BroadbandTV, and is accessible on Outspeak’s YouTube channel. Lundberg and Ghieth have also engaged their audience by screening at colleges around the U.S., sponsored by various campus groups.

Funding Breakdown Costs for Season 1 $23,000 Funding Indiegogo campaign that raised $15,000 ($2,000 of this went to Indiegogo-related fees); $10,000 self-funded for post-production, festivals, legal fees, etc. Earnings Breakdown Monetization Vimeo on Demand, Amazon Prime, partnerships, speaking engagements Platforms Vimeo on Demand, Amazon Prime, YouTube (on Outspeak’s channel) Earnings $100 from January on Vimeo on Demand; revenue from speaking engagements. Amazon Prime earnings forthcoming (the platform pays a few cents per episode view) The Upshot “Being able to put my own experience out there so others can connect with it has been incredible,” said Lundberg. “Trans men have hardly ever seen themselves on screen before in narrative film. People have been reaching out to us.”

Case Study 3: Business Time

From writer/co-producer/actor Alex Herrald, director/co-producer Kristopher Knight and actor Curran Connor, Business Time, an absurdist comedy series, follows Gene and Gene, two office workers in cubicles bantering about business. The show has one season of seven episodes, each five to seven minutes long (with one just a minute and a half). The team is in the process of writing season two.

Alex Herrald and Curran Connor, the creators and stars of Business Time. Courtesy of Alex Herrald Alex Herrald and Curran Connor, the creators and stars ofCourtesy of Alex Herrald

Funding Breakdown Costs for Season 1 Approx. $1,500 for food, art, costumes, editing and music. “Everyone worked for free and used their own equipment,” Herrald said. “The biggest expense was our wrap party in Williamsburg!” Funding Self-funded Earnings Breakdown Monetization The team decided not to monetize the series. “We looked into a few partnering and revenue split models, but some of them would have forced us to change our creative concept,” Herrald said. Platforms YouTube Earnings None The Upshot “This is the first thing that I’ve ever written, produced and acted in. I’m braver now. I see it as a calling card for what I can create,” said Herrald.

Case Study 4: Allston Xmas

Allston Xmas is a comedy web series from Boston-based filmmakers Kenice Mobley, Melissa McVay and Jared Vincenti, about Boston’s annual September 1st move-in day, when the volume of people moving on the same day yields free things left on city streets for the taking. The show launched in 2014 with one season of 12 episodes, each four to nine minutes in length. The series included a total of 23 actors and 25 crew members, and was shot from August to October 2013.

Renee Donlon and Conor Burke in Allston Xmas. Courtesy of Turner Street Productions Renee Donlon and Conor Burke in Allston Xmas. Courtesy of Turner Street Productions

Funding Breakdown Costs per season Approx. $8,600, which included production, food, transit, post, promotion, insurance and Kickstarter Rewards Funding Kickstarter campaign that earned approx. $6,000; self-funding for the rest Earnings Breakdown Monetization The team decided not to monetize the series. “Allston Xmas is about free stuff circulating and we wanted to be true to that spirit,” said Vincenti. Platforms Vimeo Earnings None The Upshot “We learned a lot for our future work. Our concept, where each episode stands alone with different characters, was tough to execute,” said Vincenti. “Next time, I’ll structure it to be kinder to the production team!”

End Goal: Acquisition

It shouldn’t surprise that most series creators seem to hope that a larger, traditional distributor eventually picks up their work, developing it into a full TV show or feature. The Misadventures of Awkward Black Girl from Issa Rae, for instance, ran on YouTube beginning in 2011, until, in 2015, HBO brought Rae aboard for a spin-off show. Online all-star Broad City, created by Abbi Jacobson and Ilana Glazer in 2009, moved to Comedy Central in 2014 in the form of half-hour episodes. And the acclaimed marijuana-centered High Maintenance, released for free on Vimeo in 2012, was “picked up” by Vimeo on Demand in 2014, available to subscribers only; HBO then acquired the series in 2015.

“When a series is picked up, the company is essentially buying your fanbase,” said Kado. Translation: A series’ social media numbers serve as a quantifiable measure of its potential in the market—perhaps the best reason to put stuff out at a loss initially, in the hopes of gaining clout.

That’s the strategy that moviemaker Katie Tibaldi has chosen. For their series Seeking Sublet, Tibaldi and her producing partners Josie Chai and Cailley Frank-Lehrer set clear goals and gave themselves time to get to know their audience. “We didn’t want to rush it. We want to start building our audience before rolling it out,” Tibaldi said of her social media strategy. The team posted a one-minute trailer and 21 teasers (each around three minutes long) on Funny Or Die. Tibaldi estimates that these videos have generated more than 100,000 views in total. On Twitter, the creators re-tweet terrible roommate stories. On Tumblr, they post gifs from their footage, and on Instagram they post more videos. Each lead character has a Pinterest page with information about roommate survival tips.

The team raised over $20,000 on Kickstarter and self-funded (along with actor Charlie Wilson) the rest. They began their search for a distributor while shooting. “We have done a lot of research on distribution and reached out to new platforms. It’s influencing our release and festival strategy,” Tibaldi said. The nine episodes, yet to be released, will be seven to 10 minutes each. Tibaldi is betting that her slow-burn strategy and hard work pays off. As talks with distributors heat up, time will tell.

PA Kareema Pinckney slates a take on Seeking Sublet, starring Tim Mele, Charlie Wilson and Rachel Kitson. Courtesy of Katie Tibaldi PA Kareema Pinckney slates a take on, starring Tim Mele, Charlie Wilson and Rachel Kitson. Courtesy of Katie Tibaldi

So… Why Make a Web Series?

Web series creators take their ideas and careers into their own hands, instead of waiting for someone else to green light them. “We didn’t want to wait or answer to anyone. We did what we wanted,” said Sheyam.

As TV and feature cinema continue to elide, so are web series gaining a foothold amongst more traditional prestigious media. Film festivals recognize their value. “Our web series section is always sold out,” said Kado of his festival, which in 2012 added the category. “Series creators and followers want to see the work on the big screen.”

“Web series bridge the gap between technology and outreach, a crucial intersection for indie filmmakers,” said Drea Clark, senior programmer at June’s L.A. Film Festival, which, for the second year in a row, has a dedicated web series program. “[Festivals] are about finding and supporting talent—and web series are it.”

A series can raise a filmmaker’s profile, be a test case before taking a creative risk, and reach audiences often overlooked by traditional media. Voices marginalized in mainstream media find an audience more easily than ever: Take for example The Outs from Adam Goldman about the LGBT community, or My Gimpy Life by wheelchair-bound actress Teal Sherer. Comedy, particularly from female comics, has taken on a new life online—look at Broad City’s Jacobson and Glazer, whose comedic careers have exploded in the wake of the series’ success.

“Filmmaking is about making a human connection,” said Lundberg, “and you can’t quantify that.” MM

This article appears in MovieMaker’s Summer 2016 issue, currently on newsstands.

Known actors profitable to web series: ALTBalaji’s Manav Sethi

MUMBAI: Bollywood actors are seeking refuge in TV and online series. The spurt of content with known big-screen faces points to a trend of getting value out of their established names.

ALTBalaji has launched a plethora of shows with A-list names. “It is more profitable to sign an actor when he does justice to the role and the script does justice to the actor. It is not about celebrity or non-celebrity. We are the first one to sign Rajkumar Rao for an online series. We, as creative shop and storytellers, don’t go behind celebrities, we go behind actors,” says ALTBalaji CMO Manav Sethi.

Actor selection is not dependent on his one time success or failure. “When we script, we check which talent will be suitable,” he adds.

The actor’s fee in movies is significantly higher than web series. Actors are paid in the range of Rs 50 lakh to Rs 1.5 crore for a series, which is significantly less than their movie fee. What makes them settle? Sethi answers, “Movie is a medium that is restricted and constricted whereas online shows give them a lot more freedom, versatility and options and I believe that entices them.” He adds that another crucial factor is the ability of web series to reach out to far and diverse audiences.

The tactic also works for the creator because they can ensure their work reaches millions of people with less marketing and communication. The production cost goes up by 25-50 per cent if they sign a known face.

ALTBalaji launched a web series The Test Case on Republic Day with actors like Juhi Chawla, Nimrat Kaur and Rahul Dev. A few days back, ALT had roped in Vivek Oberoi for its upcoming web series Family (working title). Before that, it came up with Bose: Dead or Alive with Rajkumar Rao. Earlier, Ragini MMS Returns had the Bengali beauty Riya Sen. Soon, Haq Se will stream with Bollywood actors like Rajeev Khandelwal and Surveen Chawla in the lead.

ALTBalaji is heating up the online content game by releasing web series back to back in 2018 with the promise of doing about 200-250 hours of original content this year. The VoD player is betting high on popular Bollywood and TV actors, which increases the cost but still gets them significantly better results.

Also Read :

Regional content on ALTBalaji to constitute 15% of show hours

Selective, snackable, short episodes, niche mktg vital, says Manav Sethi as ALTBalaji ranks among top OTTs

ALTBalaji bets big on first-time producers with Haq Se

4 Things You Need to Know About Web Series Funding

This is a weekly column behind the scenes of Alex LeMay’s latest project, DARK JOEY. DARK JOEY is a collaboration between LeMay and writer Jim Uhls, who wrote the major motion picture, FIGHT CLUB, as well as his writing partner Ric Krause. Follow along here: #Film-School:lemay-makes-a-series

As the funding offers for DARK JOEY begin to get sorted out, it dawned on me that if I were walking into this situation for the first time my brain might turn to jelly. It can be a swamp of new terminology like “success benchmark participation increases,” budgeting mumbo-jumbo like “talent fee holdbacks,” and legal quagmires like “IP revision clauses,” all of which sound mind-numbing and overly complicated. Let me see if I can untangle some of this for you so it’s not so murky. Basically, there are 4 things you need to keep your eye on where funding/budgeting negotiations are concerned. Bear in mind, these are based on averages and your deal will have its own unique quirks to it, so be flexible without giving away the store. One thing to remember- most series’ don’t get offered an option (an ‘option’ gives the studio the right to produce your series at a future date and is often represented by a separate fee of a few thousand dollars. They either produce it or they don’t. These deals happen quickly).

Things to be aware of when getting series funding:

Production Budget/Episode: This can vary from $5k-40k for the average web series, scripted or not. Most often they are looking for 8-10 episodes per season, and the average cost per episode being in the $15k range. That means your overall budget for a 10 episode season is $50k-$400k (there are exceptions where it’s a lot more but that tends to be reserved for major talent). Executive Producer Fee: This is almost always 10% of the production budget (obviously if you can negotiate more you’re a rock star, but that’s SUPER rare). So that gives you between $5k-$40k that goes directly to you, the owner of the intellectual property (IP) (IP is script, story, and any other content that comes directly out of your series like sequels or spin-offs). Production Fee: If you and your team are going to be the actual production company that does all of the physical production work on the series, meaning you have all the shooting, administrative and post capabilities, you can often get a production fee of 5% of the total budget. However, unless you are an established, trusted production company, it is rare that you will be assigned with this task. Most studios will assign a production company to you or if you have relationships with ones they are familiar with you can often go that route. If you are not doing the physical production, you can not negotiate this fee. However, just because you aren’t doing the production doesn’t mean you don’t have control of the project. Separate Talent Fee: One of the big expenses per episode is onscreen talent costs. They can really eat up your production budget. That is why it is imperative that you negotiate a separate talent fee, meaning the studio or the brand sponsor is responsible for covering that amount. However, you are not entitled to charge your fees on top of that. That is simply a pass-through (just what it sounds like; it passes through the budget as a straight cost with no fees attached).

You’ll see I mentioned Brand Sponsors. That’s because very often, a brand will put up the production budgets for promotional consideration, product integration, and prominent placement in the advertising for the series. Don’t be threatened by any of this. It doesn’t have to be cheesy or considered selling out (see last weeks post – How To Not ‘Sell Out’ When Working With Big Brands. )

Lastly, a great way to keep more of the production money in your pocket is to build a line item in the budget for producer, writer, director costs, and if you are ACTUALLY doing those jobs it is perfectly right that you get paid for them. However, I usually leave some of that money in the production budget as every little bit helps. You can negotiate that with the production company.

When all is said and done, whether you have an agent or not, these are things you should familiarize yourself with. Most funding contracts fall into similar patterns of execution and it is your job to work with the studio, production company, and brand to work out the best deal for all.

This, combined with my training guides 5 LAWS FOR SELLING TO WEB SERIES DISTRIBUTORS and HOW TO CONTACT HARD TO REACH WEB SERIES BUYERS should give you a healthy leg up and some solid tools for not only getting in the room with buyers, but negotiating the most advantageous funding for your project.

As always, feel free to ask me any questions in the thread below and I will definitely answer them. Keep Creating!

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Top 9 How Do Web Series Make Money Best 131 Answer

How much do web series actors make?

How much money do you need to make a web series?

How do TV series get paid?

Which web series earned the most?

Who is lowest paid actor?

How much Hina Khan earns?

How do webseries make money in India?

How do I create my own webseries?

How do webseries make money on Netflix?

Do actors get paid for streaming?

Who is the highest paid actor?

Who gives money to TV channels?

Who is the No 1 web series in India?

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