Looks like TMI Weekly’s Julia Allison isn’t going to be the only web celebrity plugging Sony TVs and laptops this holiday season. Indie breakout satire series Auto-Tune the News from The Gregory Brothers has inked a sizable promo deal with Sony Electronics. Michael Gregory touched on the deal while speaking at NewTeeVee Live conference today. The auto-tuning foursome—which is actually three brothers, one sister— Sarah, Evan, Andrew, and Michael have been making waves (and friends with T-Pain) since dropping their first musical mashup on YouTube back in April.

There aren’t many details to report, other than it’s going to be some sort of “viral campaign”  produced alongside Sony’s longtime LA-based agency 180. “It’s going to be similar to the kinds of things you’ve seen from us,” Gregory tells us.

The deal with Sony was said to have come before  the pair singed a non-exlcusive distro deal with Next New Networks’ Barely Political channel. The series broke out this summer/fall as one of NNN’s top performers across the board. “The most grueling part of Auto-Tune the News is actually watching the news,” said Gregory during the panel.

UPDATE: We heard from Julia Allison, who makes an appearance in the upcoming auto-tuned Sony ad with Gregory clan.

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Revision3’s Diggnation, its super popular weekly web series of internet culture, finally has its own home on the social news site which gave it its name: Digg.com. It seems like a no-brainer, but for some reason despite the close alliance between the show and the site it hand’t happened until now. There is of course the Kevin Rose connection, who is a founder of both Rev3 and Digg, and co-host of Diggnation along with Alex Albrecht.

As part of the new partnership between the two companies, all of the Digg related shows—Diggnation, The Digg Reel, Digg Dialogg along with less frequent Digg Townhalls and Diggcetera—will have a hub at newly launched DiggTV. For the Revision3 series, the site is just embedding the Rev3 player, though it’s been re-skinned to sync up with Digg’s branding. While Digg users already made up a large part of the series viewers, the new distribution channel for the shows means regular placement, and reminders to watch, in front of the 10 million-plus Digg.com monthly audience.

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Mick Garris might in fact be the Charlie Rose of horror, having a rolodex that reads like a who’s who in the genre after creating The Fantasy Film Festival and Showtime’s Masters of Horror anthology series. “There is nobody in the business who can bring to our audience what Mick can – an unprecedented knowledge of the industry from the ground up, and a network of A-List colleagues who are happy to share with him and our viewers their experiences, stories and insights about fear-inspired entertainment,” said FEARnet’s President Diane Robina.

The series is being produced by Jetpack Media—the same shop behind comedy favorite Old Jews Telling Jokes. Jetpack’s Eric Spiegelman is producing Post Mortem and Perry Martin directing. Production on the project began last week with FEARnet saying they expect a December debut.

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No matter how you slice it, it’s a tall order, and in a media saturated space, it’s more critical than ever to engage users at the point of consumption, which is why many content creators are exploring mobile as either a complementary experience, or an entirely made-for-mobile series. In fact, I’ve been recommending that my content creator clients include a mobile component to their web series to bridge the story transmedially and blend IRL experiences. Mobile is also an excellent vehicle for activating behaviors, especially with the array of technology available to enrich and personalize the experience, such as augmented reality and geo-location-based interactions.

TV Goes Mobile

Most mobile engagements to date have been developed by studios to augment their television programming and tap into a digital audience. Marc Ostrick, founder of eGuiders, was working on original scripted mobisodes as a spin-off for Fox’s 24 back in 2006 that were intended to simulate the high drama/action experience for those who wanted to watch video on their phones. A partnership Fox struck with Verizon to promote their new 3G technology spawned a pay-for-content experience, which was pretty ambitious at that time, especially considering the miniscule mobile budgets didn’t even allow for using the actual cast in the series. “But it did offer some valuable learnings,” said Ostrick. “Just because the technology is there, doesn’t mean people really want to watch TV on their cell phones unless there is something that is truly unique about experiencing mobile content than on any other medium.”

ABC caught on a bit more on that front with their intricately woven mobile ARG, Find 815 for LOST. A show like LOST with its myriad of plot lines and viewers’ ongoing quest for answers makes it the perfect subject matter for delivering unique content that is supplemental to TV viewing and merges the storyworld with real life in creating a rich story tapestry for viewers. They tapped Hoodlum Active to build the content, one of the leading digital entertainment shops out of Oz, whose specialty is taking the brand and brand values from existing TV series to create original material specific to mobile or web. For Lost, Hoodlum developed an intricate backstory for the discovery of the wreckage of Oceanic Flight 815. The ARG began on December 31, 2007 and ended two hours prior to the premiere of Season 4 on January 31, 2008, and was intended to keep avid fans engaged while the show was off air and grow audience participation in the lead up to the new season. It also helped offset viewer fatigue over unanswered questions by giving them clues and insights to help close the loop on parts of the storyline.

Nathan Mayfield, Chief Creative Director for Hoodlum says the key to a successful mobile enagagement is “Story first, technology second.” “We have heard it many times but that is because it is true.” Mayfield continues, “Good storytelling is at the heart of a successful project but poorly executed stories are a waste of time. With Mobile you need to ensure that the project balances game play and narrative in a way that your audience has a sense of achievement. If you do that, they will return again and again.” But he cautions content creators not to fall into the ‘if you build it, they will come’ trap. “Mobile is only one piece in a multi-platform project; you need to ensure that audiences can engage with your content across many touch points and, in ways that suit [each medium] – i.e. Mobile needs addictive short plays with immediate responses.”

NBC is also attempting to assert a leadership position in this arena with their recent foray into a fully integrated multi-platform experience for Heroes boasting some impressive initial results. Sponsored by Sprint, the campaign began on September 28, and runs through December 30, with the story unfolding across the web and mobile, giving viewers deeper character interactions and original scripted mobile content in the form of games, stories and clues for Sprint subscribers to solve a mystery and enter to win a $25,000 interactive storyline contest. The companion content has already resulted in a rise in viewership for the show, combined with several million mobile streams and hundreds of thousands of sweepstakes entrants.

So, for the most part, the networks have mobile covered as an adjunct vehicle for extending their lineup of programming and driving users to their websites to solidify brand awareness and show interaction. And the category is growing rapidly. Nielsen estimates that a whopping 10.3 million mobile phone subscribers, 5% of the total cell phone population, access video via their phone each month.

This market even spawned Playboy getting in the mobile game last year with their made-for-mobile series Interns, showcasing the behind-the-scenes world of Playboy Enterprises’ Fifth Avenue publishing headquarters as seen through the eyes of three college students. The show is available via iPhone sites, as well as across Playboy’s Audience Network, which includes Quattro Wireless, mywaves and Zannel. Several additional carriers have also begun to roll out the :90-second mobisodes this year, which were developed by Swan Haus Media. Interns elicited 1.8 million views on both the mobile and Internet platforms, and was the #1 video download on AT&T. They also self-reported an additional 50 million impressions via their MySpace microsite. According to Lisa Kolodny, Head of Your Marketing for Playboy, “We wanted to ensure that the Interns program was not only entertaining but also relevant to this target demographic, which will drive students to engage with Playboy via their mobile phones.”

On the branded front, Omelet, in partnership with Fox Mobile Studios and Altoids, recently launched Brainstorm, as an original mobile/web series, which we covered last month, so I decided to catch up with Omelet partner Steven Amato and Mike Wallen, VP of Fox Mobile Studios to learn more about their mobile strategy and why they decided to take on this medium. Steve remarked that it’s critical to consider the immediacy of the mobile web. “Time is valuable and drop off severe with mobile, so you have to make an immediate impact with every episode you create. With Brainstorm, we called it the ‘big funny’ and every episode had to have it and we had to set it up fast.

Based on the viewing habits of mobile users, it’s important to not expect viewers to watch the whole season. Each episode should work as a modular standalone experience that when viewed together in episodic form gives viewers a longer story arc payoff.” Wallen’s passion for mobile really shines through. “There’s an amazing entertainment portal in your pocket. Let the platform – its interactivity, connectivity and communal nature inspire your ideas. While it’s a great place to watch your favorite TV shows and movies, it’s an even better place to discover, share and interact with content.” And he advises fellow content creators to let that aspect inform their own mobile efforts.

Electric Farm Entertainment’s Afterworld was also developed with a mobile focus, orchestrated to create story synergies between each platform that expanded the lexicon of the story and drew viewers deeper into the vivid fictional world. The series comprised 130 x 2′ made-for-mobile episodes, all written in such a way that a story arc ran across a set of five installments. “We chaptered the video specifically for mobile platforms and we ensured our mobile game tied back into the story,” says Marie Jacobson, Executive Vice President, Programming and Production, International Networks for Sony Pictures Television who distributed the series internationally.

In the vein of Afterworld, an upcoming indie series Issa is in development exclusively as a mobile-delivered experience. Created by William Burden and Steve Parkford of Dreamgate 2012, a 52-episode animated series is planned, approximately 2 minutes each, with interactive elements that allow viewers to explore the intricate animated world they’ve developed and will use smartphone technology to let viewers harness the characters’ ‘special abilities’ and solve mysteries. They even tapped Afterworld’s Michael Decourcey for animation.   “Our stories must provide a complete arc—beginning, middle, (cliffhanger) end—in just 2 minutes,” said Burden. “Enough information to keep you entertained for the duration and, because we are creating a multi-episode mega-arc, also looking for more. Our whole approach is to compress the normal pace of dramatic development, while not losing key elements of character and action nuance.”

Even in cases where the mobisodic series is the main feature, mobile is strongest as part of symbiotic cross-platform encounters. With a limited amount of time to tell stories via the web, ancillary experiences that bring more of the backstory and characters to life is important to paint a complete picture. Offering mobile vignettes to connect the dots or extend a story arc will not only help enrich the experience for viewers, but will draw them into the narrative in a meaningful way. It also gives the creative greater longevity through fresh, ongoing snippets of content that can stand alone.

No discussion about mobile would be complete without addressing the app revolution. Peter Cowley, Digital MD at Endemol UK notes, “On TV, everyone says content is king, but on mobile, it is a device where apps are the most important thing.” So, creating apps that add to the depth of your series can increase consumption, viewership and affinity. Not to mention tap into the viral aspects of the space in extending the reach of your series across mobile networks.

The Future of Mobile is Now

Whatever mobile tactics you decide to employ, the time to strike is upon us. According to Paul Verna, eMarketer senior analyst and author of the new report, ‘Mobile Content: Paid Models Take Shape,’ “The expected increases in mobile Internet users, mobile data revenues and smartphone sales will produce an environment in which users will be hungry for content, and media companies with premium content are in an advantageous position to launch paid models.”

In an increasingly channel-agnostic space where the same content is available in multiple places, the key is to monetize experiences around the content, and there’s no better way to create memorable, immersive and highly personalized experiences than through transient content that travels with the viewer and that brings the story and the characters they love into the palm of their hands.

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Every other day is a holiday somewhere. Even today is a holiday (Veterans Day). So the guys behind Crappy Holidays have a lot to play around with. For the 8-month old web series, no holiday—Labor Day, St. Patrick’s Day, 4th of July, not even Veterans Day, is off limits.

Woven throughout the series is comedian Har Mar Superstar, who stands as the main recurring character amidst a cadre of celebrity guest stars like Juno star Ellen Page, Justin Long and Ginnifer Goodwin. We caught up with creator-director Ryan Rickett to find out where this series came from and what he really thinks of the modern holiday circuit.

Tubefilter: Where did you come up with this idea and how did it become a web series?
Ryan Rickett: Har Mar Superstar (aka Sean Tillmann) and I made a video greeting card for Christmas to send out to all our friends and fans (of Har Mar). We called it Crappy Holidays. We had so much fun making it and we got such an awesome response online, that we decided to make one for every holiday. Har Mar and I had previously shot a few shorts with our friend John Ringhoff, who is a brilliant comedy writer, so bringing him on was an obvious choice. I have a background directing music videos so I have been able to bring a lot to the table production-wise. With our three combined talents we are able to pull of some really cool stuff.

Tubefilter: So do you think we have too many holidays?
Rickett: There are 53 public holidays listed on Wikipedia for the United States alone. That’s a holiday a week! Beside the fact that we thrive on holidays for the show, I don’t think you can ever have too many holidays. I mean, if someone in your family was an American Pioneer, there’s a day for you! And we’re going to honor that.

Tubefilter: Are there any holidays that aren’t crappy?
Rickett: When it comes to holidays nothing is sacred. It’s probably harder with the Jewish ones (because, you know), but if it’s a holiday we’ll find a way to make it crappy. This is all obviously in good fun (although I think that John really has it in for Labor Day).

Tubefilter: Do you have a favorite holiday?
Rickett: I can’t speak for the other two guys, but my favorite holiday is Christmas. No holiday has inspired more Christmas movies than Christmas.

Tubefilter: What’s next for Crappy? Are there plans to take the series further in terms of distribution?
Rickett: We are very interested in developing the show into further horizons. We use all of our own resources and money to make each episode, but the response we get from doing it is enough to keep us going, for now at least. Actually getting paid to do this would be even better!

Tubefilter: Was it hard at all getting the impressive talent (Ellen Page, Justin Long, etc.) to appear in the series?
Rickett: Getting impressive talent wasn’t hard at all. It helps that Har Mar has a lot of celebrity friends. People who work a lot are hard to pin down, but when a friend is available to shoot something fun and cool, they’ll do it just to do it. It’s flattering to think that Ellen trusts us enough to make an appearance in our silly little web show. I am very grateful that Justin agreed to do Valentine’s Day, our second episode, because I’m sure that opened a lot of doors down the road.

Tubefilter: Is that Jay Johnston as the Drill Sergeant in the Veterans Day ep?
Rickett: We are all huge fans of Jay Johnston, ever since Mr. Show was on HBO (which Jay wrote as well as acted in), so getting to work with him has been a career highlight for all three of us. Jay has also worked on Arrested Development and has a starring role on the Sarah Silverman Program. He also made another Crappy Holidays appearance in Crappy St. Patrick’s Day.

Bottom photo: Har Mar Superstar, John Ringhoff, Ryan Rickett, Kathryn Aagasen, Justin Long, and Ellen Page in the pot.

(And just to be clear, we don’t think Veterans Day is crappy. This is worth reading.)

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Revision3 is getting serious about comedy lately. The online network that basically cornered the web with hosted tech-friendly shows—Diggnation, TekZilla, HD Nation—debuted its second scripted comedy web series today with INST MSGS. The 13-episode series dramatizes real-life web chatter like personal IM conversations, Tweets, Facebook status updates and even Craigslist postings.

Creators Ann Le, Justin Simien, and Mathieu Young developed the series after Simien spent some “research” time at work perusing the Missed Connections ads on Craigslist. You know, those shot-in-the-dark type postings hoping some unrequited eye contact stands a chance at something more. There’s also the Craigslist personals, another gold mine that Simien and his cohorts mined heavily. The opening episode (above)—”My Women”—is one of these treasures, bringing to life an actual rant of someone in Detroit’s dating biography.

From there Simien put out the call to friends to send him stored IM conversations and other social media scraps they had on hand. “I was surprised at how much people saved their IM conversation and how much people actually would send me,” said Simien. “It’s so public but it’s also so private,” he added, “These things we would never say to each other face to face always struck me as really interesting.”

Though the first episode is mostly narration voice over, Simien does tell us there are some “talkies” coming up in future weeks. For those roles they cast a handful of known actors like comedian Phil Van Hest, Dileep Rao (Avatar), Abigail Spencer (Mad Men), Josh Cooke (Four Kings) and YouTube’s Liam Sullivan from the 30 million view “Shoes” video. There’s even a special musical episode in the works.

In an increasingly popular move, the series is actually shot on a high end digital SLR camera, the Canon EOS 5D Mark II, with a series of high end film lenses.

Revision3’s Ryan Vance calls it “one of the most original and artistic shows we’ve launched at Revision3.” And given the opening, that’s a probably not just hyperbole. The series feels much more arty and stylistic that any of their previous originals. Even the Washington Post’s attempt at spoofing real-life tweets, Twits, doesn’t get this elaborate.

In standard Rev3 fashion, new episodes come out weekly with INST MSGS getting Fridays as its release day.

In the interest of full disclosure, I actually own the puppet (Harry) that is a recurring character in the series. He was discovered from his previous gig, a short lived movie review show on YouTube. He is making me proud.

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Speaking of star chefs with online programs and cable television networks picking up web series, here’s a piece of relevant news that missed our radar: IFC acquired digital media studio ON Networks‘ indie cooking show, Dinner with the Band.

Originally conceived by Food Channel veteran Darin Bresnitz and produced by Finger on the Pulse, Dinner with the Band first premiered online way back in March 2007. The show became an instant favorite amongst tattooed gastronomes with an internet connection and an affinity for indie rock. In each episode, the edgy Sam Mason (who has made pastries at New York’s WD-50, now runs a restaurant called Tailor, and is edgy both in terms of his appearance and culinary style) invites a band to his kitchen/concert studio space to sing for their supper. That means Mason makes dishes like avocado margaritas or mackerel-grapefruit ceviche with acts like Ontario’s Tokyo Police Club and New York’s Holy Hail, then watches them rock out.

I would tell you to give it a look, but it appears that since the acquisition, ON Networks has removed all Dinner with the Band episodes from its website. To see the program, you’ll have to tune into the television premier at 11PM EST on November 24.

IFC is set to air a total of six 30-minute episodes as part of the network’s Automat programming block. The episode line-up includes appearances from Les Savy Fav, Kid Sister and Flosstradamus, MEN, Final Fantasy, YACHT, and Sharon Jones & The Dap-Kings. I hope your palates and eardrums are appropriately whetted and/or satisfied.

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The brainchild of award-winning Squishy Studios, produced with EvolutionArts Media, and created by a cast and crew of local independent filmmakers in Phoenix, Arizona, Normally This Weird is the story of newlyweds Vanessa (Lauren Henschen) and Simon (Michael Peterson) moving into their first home together. And while on the outside, their suburban neighborhood looks average…their neighbors are anything but. From eye-patched Swivey Dinkle, to the dark magic practicing Archevils, the couple discovers they are in a place that is…well, it’s just normally this weird.

I personally have a lot of personal affinity for this show because it instantly reminded me of the short-lived television series Eerie, Indiana, in which a teenage boy is forced to move with his family from the city to a suburban neighborhood and discovers the town is a hub for strangeness. It’s a plot ripe with opportunities for fun, something that is important to director/co-writer Nathan Blackwell, and it is refreshing to see it play out in web series form.

The unique take Squishy Studios took in creating the series stems all the way back to the casting process. Said Blackwell: “our producer, Bracken J. Batson, had a hilarious idea … he likes to throw the actors a subtle curveball right up front that weeds out some of the flakier people. So we held our auditions in the back office of a car dealership. And sure enough we had a lot of no-shows. Besides being great actors, because we couldn’t pay anyone, we really needed reliable people who were committed to endure an entire season of production.” Not something I’d recommend if you’re shooting your series on the SAG New Media contract, but it worked for this production.

The first episode of the series is available so far (split into two parts), and the one issue I ran across is that I felt I didn’t know enough about Simon and Vanessa and their relationship to truly care about what was happening to them. Luckily, it sounds like this will be addressed in future episodes. “Episode 2 should be interesting for us”, explained show producer Batson. “It will focus on the newlywed’s relationship … The specific plot involves Vanessa, who was a huge online co-op gamer, canceling her gaming account. Unintentionally, episode 2 will be flying very close to the already well-established territory of another web series: The Guild. The challenge for us will be not to tread on their ground, but to provide our own original approach to this familiar theme.”

“Expect things to get stranger, that’s definitely the direction NTW will be heading”, added Blackwell. “Broken time machines, ghosts, mind-controlling aliens … All the while we continue to tie these fun ideas into the humanity of the characters. What happens when your wife comes back from the dead with her personality changed? Does a super villain get along with his teenage son? If you were a girl who could you use magic, what would you do if you had a secret crush on a boy?”

Ten episodes of the series are planned along with several bonus videos termed the “Normally This Weird Squishy Network”. “Some of my favorite video games all have a mini-game where you take a break from the main action and tackle a completely different game strategy”, said Batson. “That’s how I am approaching this concept of the ‘Normally This Weird Squishy Network’, it will be a side-show within the main series. I am excited to see how it works for us.”

It started in July of 2003. Star Wars Gangsta Rap hit AtomFilms.com (now just Atom) and captured over 4 millions views for the animated rap parody of the George Lucas masterpiece. It was arguably the most popular of the site’s annual Star Wars Fan Film Challenge, a yearly contest (since 2002) sanctioned by Lucasfilm. Gangsta Rap creators at flash animation Bent TV Productions—Jason Brannon, Chris Crawford and Thomas Lee—followed it up in 2004 with Star Wars Gangsta Rap: Special Edition.

Now 10 million views and what seems like an online eternity later, MCs Vader, Skywalker, Palpatine and Trooper are back for the latest episode Star Wars Gangsta Rap: Chronicles. Not surprisingly, it’s the first finalist announced for Atom’s 2010 Star Wars Fan Movie Challenge.

Even with the dearth of the Death Star flow, the Ottawa-based Bent TV guys have been busy these past few years, getting hired on by Weird Al for his “I’ll Sue Ya” video and even by 20th Century Fox to promote an X-Men DVD release with X-Men Gangsta Rap.

As for the winners of the Fan Movie Challenge, we’ll have to wait a little bit it seems. Atom tells us they will be announced at Lucas’s next Star Wars Celebration, the all-things-Star Wars Con, where they will be announced this year instead of at Comic Con.

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Next New Networks’ Barely Digital channel, the 11-month old offshoot of its Obama Girl led Barely Political, has launched a new musical series Key of Awesome this month. The musical lampooning series has already belted out four episodes bashing everything from celebrities crying to Twilight hating vampires. There’s even two “making of” videos that are pretty spoofy themselves.

The new series is a slight turn from Barely Digital’s first scripted comedy Tech Know, which took a behind the scenes look at a fictional tech gadget review show. Think an internet spin on The Larry Sanders Show or Goodnight Burbank for the techie set. Tech Know has been on hiatus since mid-August and no word yet on its return.

Key of Awesome is a return to what put the Barely Political crew on the map in the first place–internet topical music vids with viral breakout potential. And using their highly subscribed Barely Political YouTube channel is key to sparking that viral mojo. The Twilight episode above had already raked in over 270,000 views on YouTube alone in just a week since launching.

Most episodes star Barely Digital writer Mark Douglas and are helmed by Tom Small. New episodes are planned for every week. Barely Political founder Ben Relles says so far the reaction to the series has been strong. “I think we’re around 1 million views for the series and people seem to like the videos,” said Relles. “We’ve been creating videos with Mark Douglas now for a couple of years and love his sense of humor. This idea came largely from the great response we got to some of his prior music videos he did for Barely Political like ‘Political Sex Scandals’ and for Indy Mogul like ‘Harry Potter Rap’,” added Relles.

Relles and the Barely Digital crew are also hosting a live show 7pm on Thursday November 19 at the Canal Room in NY as part of Web 2.0 Summit that will feature The Gregory Brothers (AutoTune the News), Amber Ettinger and Leah Kauffman (Obama Girl), Mike Relm (mash-up artist) and Mark Douglas who will be performing Key of Awesome songs.

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