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'Chucky' and 'Jurassic World' Are Using This Santa Monica-Based Platform to Tap Fans for Art and Ideas
Kristin Snyder
Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
As a kid, Jeff Blackman loved to see the animated artwork that would air between shows on networks like MTV and Nickelodeon.
Now, as the senior vice president of creative, entertainment cable creative & marketing in NBCUniversal’s Television and Streaming Department, Blackman wants to make his own networks just as visually engaging. And he wants fans to be part of the creative team.
So far, they’ve delivered. Ahead of the second season of “Chucky,” a series that follows the character from the “Child’s Play” franchise, NBCUniversal’s cable channel SYFY tapped the film’s fans to make episodic posters for the show. Eight different artists received $2,000 for their work, which resulted in anime-esque reimaginings of the doll and a Christmas-themed animation.
“We had this idea that, if we're going to turn the brand of SYFY over to the fans, we would want them to create the experience on the TV channel—which, traditionally, only the people that make shows get to make the TV channel,” Blackman says.
To find enthusiastic artists, NBCUniversal turned to Tongal, a Santa Monica-based content creation platform. The way it works is simple. Artists use the platform to showcase their work and market themselves to people looking to hire creatives. Alternatively, companies provide information about specific projects, such as what fanbase they are looking for and digital size requirements. After reviewing artist submissions, the companies greenlight which artists will get funding to complete the project.
For founder and CEO James DeJulio, Tongal was born out of the frustration of seeing talented people be shut out of the entertainment industry, which is notoriously difficult to break into.
“I really wanted to build a system where creative people could begin to unlock their potential and where they would find the opportunity to work with people like [Blackman], who believed in them and who desperately needed to find a way to get closer to creators and their audience,” DeJulio says.
Tongal and NBCUniversal’s partnership has since expanded beyond logo art. For “Jurassic World Dominion,” fans were encouraged to animate dinosaurs in the modern world. The 35 year anniversary of “Back to the Future” was celebrated with people recreating their favorite scenes.
But the process can also get more in-depth. When SYFY wanted to make a documentary about the comic book writer Todd McFarlane, they offered artists on Tongal a budget ranging from $80,000 to $120,000. They also helped those artists coordinate large filming locations. In one case the artists filmed at San Diego Comic-Con and were granted access to McFarlane’s personal archive.
The idea for Blackman is to use Tongal’s network to find creators who have extensive knowledge of the comic book world instead of hiring from a more traditional pool of applicants.
“We need somebody who knows that stuff, maybe has some relationships and prior work in there and then can bring something interesting to the visual storytelling,” Blackman says.
While some companies, like Marvel, have been vocally hesitant to bring fans into their process, claiming that they are too attached to the original plotlines, others have embraced them. Last year, Lucasfilm hired a “Star Wars” fan who had previously made Luke Skywalker deepfakes to work on de-aging and facial visual effects.
For its part, SYFY wants to work with people who are passionate about their intellectual property. According to Blackman, doing so solves two problems: the company doesn’t have to spend time explaining the show to people who are unfamiliar with the universe, and it helps them feature a wide range of skill sets and artistic styles.
“This lets us go really deep with these subsets of fans and audiences and lets them go even deeper on their engagement with the show,” Blackman says.
From DeJulio’s perspective, that level of fan engagement is going to be the key to television marketing. He believes marketing methods that don’t actively engage fans are no longer an effective, long-term marketing model. Instead, bringing in people who want to channel their passion for a show into a creative outlet can become an active part of the marketing process.
“I think, in the future, there's no way for a show or movie to not get really close to the fan base,” DeJulio says. “The idea of that something just gets created in an ivory tower and then launched out into the world—I don't know if that's the long-term marketing model for entertainment.”
Kristin Snyder
Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
https://twitter.com/ksnyder_db
'I Just Really Liked Their Vibe:' Serial Entrepreneur Brian Lee on How He Landed L.A.'s Biggest Exit and What Drives Him Crazy About Other VC's
03:55 PM | February 12, 2020
Wikimedia Commons
As one of the founding fathers of the L.A. tech scene, Brian Lee is used to having entrepreneurs pitch him on ideas. What does he look for? It's not so much a business plan or even an idea. He says he goes off a vibe.
That's how he ended up being the first investor in the deal-finding browser add-on Honey, which was bought late last year by PayPal for $4 billion in what ranks as the biggest acquisition L.A. has seen to date.
The low-key Lee, wearing a baggy black hoodie, talked about that and other topics in a wide-ranging conversation in the decidedly un-sleek West L.A. street level office where he oversees BAM Ventures, the early-stage consumer-focused fund he co-founded in 2014. The onetime Skadden Arps attorney co-founded LegalZoom in his condo in 2001 and after that became known as the business guy celebrities go to to launch their consumer brands, such as Shoedazzle with Kim Kardashian in 2009 and The Honest Company with Jessica Alba in 2011.
Lee also discussed whether Honest, where he stepped down as CEO in 2017 after the once high-flying unicorn raised a down round, grew too fast and what Moviepass, the widely mocked movie subscription service he backed that folded last year, should have done differently.
How did you first find out about Honey?
I gave a talk to some entrepreneurs at MuckerLab and George [Ruan] and Ryan [Hudson] approached me as I was coming off the stage and I really liked their vibe. I believe we were the first capital into Honey and then followed on to that investment, which was interesting because to be really honest – and I'm not sure how honest I should be – not a lot of venture capital firms took them seriously. It was tough to raise capital for that business, partly because they were just a browser extension. A lot of venture funds turned them down because they've never seen an extension company scale to that extent.
When you say you got a vibe, can you explain what you mean? Was it really more of a vibe than what they exactly said?
Yeah. That's what we invest in, we invest in people. There's certain criteria that we look for in founders, a proprietary kind of checklist that we go through to determine whether or not these are the founders that we want to back.
Can you share what you look for?
I can't without fear of being sued [Laughs].
But can you share what about their vibe attracted you?
First there was this quiet confidence they had in spades. They knew exactly what they were building, and how they were going to get there. It gave us a lot of confidence to back them. Every time we met with them the numbers were growing, and we knew the future was very bright for Honey very early on. I thought they were very intuitive when it came to the next steps for what they were going to do.
By nature of your business you have very successful companies and a lot of ones that don't work out. You were an investor in Moviepass, which got a lot of press. What did you see in Moviepass that appealed to you?
It was disruptive, with great entrepreneurs. I really liked their approach. It's just the economics were never quite figured out. Moviepass is one of those ones I look back on and I still to this day think it should have worked. It's just that the model itself maybe shouldn't have been all you can eat. Maybe it should have limited how many times you could go, or when you could go, maybe not opening weekend.
"Moviepass is one of those ones I look back on and I still to this day think it should have worked."Shuttershock
When you say the economics were not figured out, isn't that something you would want to have figured out before you invested?
Not necessarily. We invest in entrepreneurs. So long as the idea seems like a big idea we will invest and try to figure out the business model at a later date. I don't think anyone can tell you that they thought Google or Facebook would have been what they are today in terms of the monetization engines that they've created. They were out there building social networks or search engines. I don't think they ever really thought that the end result would be selling ads. I can't imagine [Google co-founder] Sergey Brin woke up when they started Google saying it was going to be the largest ad company in the world.
Do you think that this emphasis on profitability being more of a focus now is detrimental?
Yes and no. It comes in waves and that's the thing about venture capitalists in general. When it's time for growth they want you to grow at all costs and when things tighten up they want you to get profitable at all costs. It shifts like the wind and it just drives me crazy. For me, we just want to build great businesses and that depends on the business model. It shouldn't be macroeconomics.
Another company you personally invested in as well through BAM was the luggage company Away. What did you see in that?
I thought it was a category that was sleepy. It was old, and it was stodgy and this millennial brand was coming out of nowhere and taking up a lot of the mindshare of the consumer. I thought it was a great product, so I thought they could get big.
The co-founder and CEO, Steph Korey, recently returned as the co-CEO [after an expose published in December in the Verge detailed a toxic work culture]. Did you think that was the right move?
Absolutely. Founders always make for the best CEOs at least until the time comes where the company scales beyond the founder. Sometimes you get those rare instances where the founder can be CEOs forever. You get your Michael Dell's and your Bill Gates and your Mark Zuckerberg but that's rare. Usually the CEO will get to a certain stage and you have to bring in professional management at some point.
Were you concerned about the culture at Away? There were some serious allegations raised.
I don't know much about that. I can't comment on the culture of the business. I haven't spent time there.
Is that something you focus on at your level, the culture of companies?
No, I would say that we don't really focus on the culture of the company that we invest in because there is no company when we invest. Typically, we like to invest in entrepreneurs that we think will create a great culture. We don't sit there and say we want to pick an entrepreneur that will create a horrible culture.
As you go forward with all these companies what lessons do you take forth from your time at Honest Co.?
We love mission-driven businesses, when people are very passionate about the company they work for. I believe in great teams, and I think we had a wonderful team at the Honest Company that really helped build that business. Mostly, singular purpose is a great thing for a business.
Do you think that you were not focused enough there and were trying to do too much?
Maybe a little bit, but I think we built the business with great size and scale and I think we brought in professional management at the right time.
Did you grow too quickly?
No, I don't think so. I think we grew at the pace that was allotted to us. I mean the consumer speaks volumes and they awarded us with growth.
What do you mean you grew at the pace that was allotted to you?
If the consumer is demanding your product then you're going to grow. The consumer fell in love with the Honest Company's products and mission, and we had great success.
Brian Lee and Jessica Alba, founders of the Honest Company, at Disrupt Conference in 2012.live.staticflickr.com
When you're coming up with new products, where do you get your ideas from?
Everywhere. Ideas come to me at the most random times. I'll give you a typical story, for let's sayArt of Sport [which Lee co-founded in 2018]. I went to the drugstore and I was looking at sunscreens, which on a mass level is dominated by three brands and the number one SKU for each one of those is the sport version. The sport is in bigger font than the brand logo, so I was thinking to myself, "Are people buying the brand or are they buying it because it's sport?" I walked around the corner and I was looking at the deodorants and a third of them were sport related. I went to the body wash section and it was the same thing. But what occurred to me was that none of these brands – although they're great brands – were authentic sports brands. Old Spice was started in 1929, and now it's Old Spice Sport. It just didn't feel very authentic to me so I thought it was time that an authentic sports brand entered this category.
You were involved in LA's tech scene very early. How do you think it will be different in the next couple of years than it has been for the last decade?
It's a great question because even when I started LegalZoom 20 years ago – and I started it out of my condo – there was zero venture capital in the city, no angel investors and there were probably five engineers and we got lucky because we got one of them. In the earliest days of the L.A. tech ecosystem you had to fend for yourself. You had to build a profitable business very early because there was no capital. So anytime you look at early stage companies in L.A. back then they're monetization engines. LegalZoom was profitable really from day one. I would argue it wasn't until Snap came into the picture that we finally got some capital into the city, where it was more a question of scale, as opposed to monetizing immediately. That really changed the landscape for all of Los Angeles. Going forward, more and more capital is coming into the city which attracts more and more talent. I think the ecosystem is definitely taking hold.
This interview has been condensed and edited.
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Ben Bergman
Ben Bergman is the newsroom's senior finance reporter. Previously he was a senior business reporter and host at KPCC, a senior producer at Gimlet Media, a producer at NPR's Morning Edition, and produced two investigative documentaries for KCET. He has been a frequent on-air contributor to business coverage on NPR and Marketplace and has written for The New York Times and Columbia Journalism Review. Ben was a 2017-2018 Knight-Bagehot Fellow in Economic and Business Journalism at Columbia Business School. In his free time, he enjoys skiing, playing poker, and cheering on The Seattle Seahawks.
https://twitter.com/thebenbergman
ben@dot.la
Here's How To Get a Digital License Plate In California
03:49 PM | October 14, 2022
Photo by Clayton Cardinalli on Unsplash
Thanks to a new bill passed on October 5, California drivers now have the choice to chuck their traditional metal license plates and replace them with digital ones.
The plates are referred to as “Rplate” and were developed by Sacramento-based Reviver. A news release on Reviver’s website that accompanied the bill’s passage states that there are “two device options enabling vehicle owners to connect their vehicle with a suite of services including in-app registration renewal, visual personalization, vehicle location services and security features such as easily reporting a vehicle as stolen.”
Reviver Auto Current and Future CapabilitiesFrom Youtube
There are wired (connected to and powered by a vehicle’s electrical system) and battery-powered options, and drivers can choose to pay for their plates monthly or annually. Four-year agreements for battery-powered plates begin at $19.95 a month or $215.40 yearly. Commercial vehicles will pay $275.40 each year for wired plates. A two-year agreement for wired plates costs $24.95 per month. Drivers can choose to install their plates, but on its website, Reviver offers professional installation for $150.
A pilot digital plate program was launched in 2018, and according to the Los Angeles Times, there were 175,000 participants. The new bill ensures all 27 million California drivers can elect to get a digital plate of their own.
California is the third state after Arizona and Michigan to offer digital plates to all drivers, while Texas currently only provides the digital option for commercial vehicles. In July 2022, Deseret News reported that Colorado might also offer the option. They have several advantages over the classic metal plates as well—as the L.A. Times notes, digital plates will streamline registration renewals and reduce time spent at the DMV. They also have light and dark modes, according to Reviver’s website. Thanks to an accompanying app, they act as additional vehicle security, alerting drivers to unexpected vehicle movements and providing a method to report stolen vehicles.
As part of the new digital plate program, Reviver touts its products’ connectivity, stating that in addition to Bluetooth capabilities, digital plates have “national 5G network connectivity and stability.” But don’t worry—the same plates purportedly protect owner privacy with cloud support and encrypted software updates.
5 Reasons to avoid the digital license plate | Ride TechFrom Youtube
After the Rplate pilot program was announced four years ago, some raised questions about just how good an idea digital plates might be. Reviver and others who support switching to digital emphasize personalization, efficient DMV operations and connectivity. However, a 2018 post published by Sophos’s Naked Security blog pointed out that “the plates could be as susceptible to hacking as other wireless and IoT technologies,” noting that everyday “objects – things like kettles, TVs, and baby monitors – are getting connected to the internet with elementary security flaws still in place.”
To that end, a May 2018 syndicated New York Times news service article about digital plates quoted the Electronic Frontier Foundation (EFF), which warned that such a device could be a “‘honeypot of data,’ recording the drivers’ trips to the grocery store, or to a protest, or to an abortion clinic.”
For now, Rplates are another option in addition to old-fashioned metal, and many are likely to opt out due to cost alone. If you decide to go the digital route, however, it helps if you know what you could be getting yourself into.
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Steve Huff
Steve Huff is an Editor and Reporter at dot.LA. Steve was previously managing editor for The Metaverse Post and before that deputy digital editor for Maxim magazine. He has written for Inside Hook, Observer and New York Mag. Steve is the author of two official tie-ins books for AMC’s hit “Breaking Bad” prequel, “Better Call Saul.” He’s also a classically-trained tenor and has performed with opera companies and orchestras all over the Eastern U.S. He lives in the greater Boston metro area with his wife, educator Dr. Dana Huff.
steve@dot.la
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