A

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PROPOSITION 

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CONTENTS

Prologue

Primaries

Collaborations & Partnerships

Working Hierarchies

Plan of Action

Target Market

Immediate Actionables

Future RoadMap(s)

Financial Overview

Costs and Budgeting

RoI Modals

Expectations

Epilogue

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Project Name: THE AMATEUR COMBINE

Production Unit: Production No #1 1
Report Intent: Financial, Operational & PoA

Prologue:

‘The Amateur Combine (henceforth referred to as TAC)’, is a proposed YouTube Channel,

with the selfsame handle name. It is expected to house the most viewed formats of content
produced regionally and globally. To wit would be:

1. Short Films 5. Promotional Content (Films, Books,

2. Candid Interviews Theatre, et cetera.,)
3. Web-Series (Mini and Maxi Versions) 6. Travel Video Logs and ‘Radio’ Dialogues
4. Comic Podcasts 7. Lecture Series on Art and Literature
(Telugu)


Other content related to the above parent content will feature once or twice every week. For
all technical assistance to produce these features, a team of mentors mark closely with the
personnel at OutLine Media.

Our Collaborators are to include:

1. OutLine Media2 - www.OutLineMedia.in for post-production (Editing, DI and Recording)

2. Nishumbita and Hunar Theatre Groups for pre-production (Casting and Auditions)
3. For Dynamic content like Interviews and Lecture Series, we will schedule the work
templates on case-to-case basis.
4. For any additional support which our current framework may fail to offer, we will
improvise and deliberate accordingly.
5. For advice and solicitation about the informative content, the CCTs (Content Creation
Teams) will seek the same from the honorary guests and bootstrap the production.

Organisational Tip:

1. Every primary topic, shall be assigned to an appropriate mentor with an efficient research
team. The teams will work independently, with only necessary reference to other wings
on intelligence and analytics.
2. Consultants will be hired on need-to-know basis, for impromptu content only, viz.
Comedy content, such as Open Mics, Clubbing Avenues, Concept/Corporate Shows.

1 PN1, dubbed Production No 1, is merely a place holder for the Media Outfit until a name has been finalised.

2 Outline Media are our Working Partners, who will sign on with us as the native Post-Production unit and also share office spaces.
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3. Mentors will rally with both the Pre-Prods, the CCTs and the Post-Prods and remain the
centre of volley for the content in question.

A typical scenario is as below: (this chart is only connotative)

1. Pre-Production Simplex:
• Mentors work with CCs (Content Creators) to build the idea.
• Pre-Production Agents then rally all the casting efforts.
• Requisite equipment will be hired on temporary loan. Cinematographers and other
technicians follow the same manner of employ.

2. Filming Dynamic:
• This being a dynamic3 process, it will be closely coordinated and finished within the
stipulated time frame.

3Thefinancial idiosyncrasies and availability of actors and technicians vary indefinitely from person to person, inspite of all the best laid
budgeting.
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• Mentors and CCTs shall rally efforts during the activity. This way, the usual learning curve
is marginalised to an all-hands-on stratum, there by establishing a proper team rapport.
Here, budgeting will not be a dynamic corollary, unlike the time taken to produce.

3. Post-Production Complex:
• With the acquired rushes, Mentors will channelise the editing efforts with the resident
technicians at OutLine.
• Audio and Video Edits will be reviewed in drafts and promoted in all social spaces with the
help of Promotion Consultants
• After a thorough screening of potentially sensitive opinions, a version ready to be web-
casted is then presented to the investors - following which the video will be uploaded.
• RoIs4 on views or subscription sales are upon then evaluated (please see the FOO page).

Plan of Action (PoA):

1. As part of the launch event:

• Two short films in tandem with two profiled interviews, will be filmed and aired on TFR’s
YouTube Channel. This will showcase the potential and capabilities of the CCTs to any
prospective investors.
• The CCTs will then branch into one of seven aforementioned bands and work extensively
to collect the necessary literature and intelligence pertaining to their discipline. These
will be interns willing to work on probationary terms.
• Following the launch and the subsequent nature of buzz the content creates both in
terms of popularity and merit we moving forward and review the next set of productions
with the investors.

2. The Target Audience:

• This in the main is urban demographic (native and non-resident alike) of the Telugu
speaking community.
• Keeping YouTube as the primary platform from which we rally the channel’s agenda, the
teams will congress the appropriate content across.
• Building a sizeable subscriber base is the key functional priority for the marketing teams.
• Binge-worthy content will be aired once every weeks, viz., podcasts, WebSeries, Urban
Comedies via Open Mic or select shows.

3. After the Launch:

• Following the launch and the understanding we subsequently gleam, the Mentors will
further their efforts to produce the first WebSeries5 (typically, a relevant drama set in
contemporary times).

4 RoI - Return of Investment for digital media content is deliberated in the Financial Segment of this report.

5 A couple of dramas - dark comic and psychological in nature are presently being worked upon.
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• The first of the many Lecture Series6 will be recorded roughly 2-3 months after the
initiation.
• A motley crew of interns will be hired to write content which will then be audited and
vetted by the Mentors.
• Two more short films of unspecified genre will follow suit in the weeks to follow.

4. Publicity | Marketing | Promotions:

• We are currently in talks with new startups specialising in SEO and content promotions
across various popular domains (Facebook, Twitter, Instagram, Snapchat, YouTube,
Vimeo, VOOT, VIU, et cetera.)
• Once an amicable and active work relation has been established with these marketing
channels, an MoU shall be officiated for all future contingencies.
• The free access domains such as Google Adsense, Amazon Associates, Yllix Media,
InfoLinks etc., shall be instrumental for monetisation of content.

5. Prospective Agenda:
This is an indicatory scheduling7 only. The budgets8 for all individual productions will be
presented at the beginning of such undertakings.

6The Lecture Series entail talks with the many Savants in Cinema, Literature and Theatre sectors. As these take time producing, the airing
shall only take place once all the episodes have been thoroughly processed.

7 The core practise in all activities which TAC undertakes.

8The expenses for a film varies indefinitely with casting, sophistication of the equipment used and the quality of the technicians hired, as
opposed to the modicum of budget needed for an Interview or a Lecture series.
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Current Action Items:

1. Officiating the business and filing for registration - DIN/TIN.

2. The highly recommended form on the type of Production Company TAC should be, is an
LLC, eg.’ TAC Media LLC.’. - a Limited Liability Company - always a better business
structure for a production company. An LLC is a hybrid business structure in that is
flexible regarding things like taxes and legal liability and allows for partnerships. Most
production companies are initially LLC's. You can own an LLC alone, or you can have
multiple owners of an LLC.

3. Business Plan - this very document as it were. We will ratify the contents with a Legal
Counsel presently. Since we haven’t yet properly begun, the ‘Plan’ is aptly left dynamic.

4. Staffing9:

• Head of Development: chooses and assesses scripts, and decide the kind of scripts you
produce.
• Head of Production: makes sure films are created on a specific timeline following a
specific budget. This should be someone with a background in film production, who also
has a knowledge of business finances
• Head of Post-Production: oversees technical editing when a film is complete. This should
be someone who has an extensive background in film editing.
• Head of Sales and Marketing: responsible for helping a film make a profit. Someone with
a strong background in marketing and advertising for this role.

5. Financials:
• We'll need a certain amount of money for equipment and other expenses going in - the
central idea behind TAC’s is Cloud/Crowd Funding, otherwise known as Angel Investors
(AIs)
• Officiate an Operating Agreement: basic structure of the business, hierarchy and basic
responsibilities.
• CAs and other Legal Consultants will be engaged at need. Funds are distributed to a wide
range of people on a film set, and we’ll need an accountant who can help make sure
you're giving everyone involved in a film a fair cut of any potential profit you make.
• Opening a Company Bank Account.
• Go Live!

6. Leave the Free Content Space (FCS), and start a website - a very distant prospect!

7. Copyrighting content before loading it online (to prevent your content from begin stolen
or abused).

9 These titles are nominal and usually bootstrapped in active employ.

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Among the most common RoI practices prevalent in the media space today, the following
eight come highly recommended from the pundits of the game.

Of the eight, and given our status quo going in, we narrow down on the three principle
offices that can set us on the path to actualise revenue.

1. Pitching the content to ‘subscription’ based CPs 10 Networks like HotStar, ZEE5, Amazon
Prime, Netflix India, Hungama, ErosNow and the like.

2. YouTube Partner Program (YPP) which allows the content creators to monetise their
content on YouTube. Primarily its the money made of advertisements served on their
videos and from YouTube Premium subscribers watching their content. Their current
eligibility cutoff for this program is 4000 watch hours in the last 12 months + a subscriber
base of 1000 or more.

3. Film Festivals for publicity and marketing.

10 CPs - Content Providers

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Notes:

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