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But, according to various reports, they are about to scale up their internal operations further, having signed-up for space in Hollywood that could one day become sound stages. To add fuel to that fi re, on an earnings call earlier this year Netfl ix intimated that by 2020 it wants 50% of its business to revolve around its own original content. Netfl ix sees original programmes and fi lms as being highly effi cient. It calculates that it is cheaper per viewer/subscriber than licensed studio-produced content. In-house content also offer a major distribution upside: Netfl ix can make it available anywhere in the World and for as long as it likes. It can also maintain quality and consistency across its output for its chosen demographic. But, of course, doing it yourself has inherent risks and costs. You have to fi nd the ideas, pay for development, hire talent, rent kit, fi nd production space/locations, build sets, do deals for post- production and everything else that goes with it. It’s defi nitely not the easy option. Similarly, if Netfl ix is fast becoming a producer, that would put it in direct competition with some of its suppliers. And it certainly puts it up against HBO in the US. Will it work? I’m not well positioned to say. But it is fascinating. Netfl ix certainly has the cash to run a successful in-house department. But it needs the creative ideas. And those defi nitely don’t grow on trees. It will be interesting to see if other OTT or streamed service providers follow suit too. Either way, the dynamic of television may have just changed again. Peter Savage is CEO of Azule Finance 4/3” sensor with excellent dynamic range u Integrated 13x LEICA F2.8 lens with ND filters u Macro capabilities and triple lens rings u Dual XLRs, USB3.0 output, 10-bit HDMI & SDI u KITPLUS - THE TV-BAY MAGAZINE: ISSUE 107 NOVEMBER 2015 | 41