Create Your Own TV Series for the Internet-2nd edition. Ross Brown
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Martinez, Cybergeddon
Tom Green, Halo 4: Forward unto Dawn
Best Female Performance: Drama
Rachael Hip-Flores, Anyone but Me
Troian Bellisario, Lauren
Alison Haislip, Battleground
Anna Popplewell, Halo 4: Forward unto Dawn
Missy Peregrym, Cybergeddon
Nonfiction or Reality Series
Kids React
K-Town
Shaytards
Ultimate Surprises
California On
Best Branded Entertainment Series
Chasing with Steve Aoki
CliffsNotes Films
Cybergeddon
Leap Year
Stories of Inclusive Innovation
Best First-Person Series
The Flog
iJustine
The Philip DeFranco Show
Ryan Higa
Daily Grace
Best News and Culture Series
The Philip DeFranco Show
SourceFed
Larry King Now
The Young Turks
Vice News
Best Production Design
Kasra Farahani, Halo 4: Forward unto Dawn
Rachel Myers, Video Game High School
Andres Cubillan, H+ The Digital Series
Lindsey Stirling, Lindsey Stirling
Greg Aronowitz and Alynne Schripsema, MyMusic
Best Cinematography
Sean Stiegemeier, Dr0ne
Nick Schrunk, Red Bull Moments
Brett Pawlak, H+ The Digital Series
Brett Pawlak, Halo 4: Forward unto Dawn
Benjamin Kantor, Husbands
Best Male Performance: Comedy
Ken Marino, Burning Love
Amir Blumenfeld, Jake and Amir
Jeff Lewis, The Jeff Lewis 5 Minute Comedy Hour
Brad Bell, Husbands
Ryan Welsh, Bite Me
Best Female Performance: Comedy
Hannah Hart, My Drunk Kitchen
Kristen Bell, Burning Love
Alessandra Torresani, Husbands
Ashley Clements, The Lizzie Bennet Diaries
Julia Cho, The Lizzie Bennet Diaries
Best DIY or How-To Series
Do It, Gurl
FPSRussia
Lauren Conrad’s Crafty Creations
Masterclass
Common Man Cocktails
Best Music Series
Epic Rap Battles of History
AOL Sessions
Songify This; Songify the News
Decoded
VEVO Go Shows
Best International Series
Live in Chelsea
Travel Story
MxM: Mexico around the World
Visto Bueno
PrisonPals
Best Editing
Nathan Zellner, Red vs. Blue
Blake Calhoun, Continuum
Michael Louis Hill, Halo 4: Forward unto Dawn
Butcher Editorial, David Henegar, Ray Daniels, Daybreak
Benny Fine, Rafi Fine, and Team, MyMusic
Best Visual Effects
Oliver Hotz and Matthew A. Rubin, Dr0ne
Clayton D’Mello and John Godfrey, Bite Me
David Ebner, 10,000 Days
William Hyler, MyMusic
Tim Kendall, Book Club
You could also check out the websites of festivals like LAWEBFEST or the New York Television Festival to see the work they have chosen to honor.
WHY CREATE FOR THE NET?
The reasons to create series for the Internet, as opposed to creating for other film or video outlets, are nearly as varied as the Internet itself. But the reasons are all linked, in a sense, by one word: opportunity.
First and foremost, the Internet offers creative opportunity. Broadcast and cable television are limited by all sorts of factors. By necessity, they must appeal to a broad audience. Even if you could get a meeting with the head of a major broadcast network like CBS, she wouldn’t consider buying your idea unless she thought it would appeal to at least 10 million people, most of whom already watch CBS. The mandate to appeal to the widest possible audience is often why so much network television is bland or derivative. Cable has more freedom but is still restricted by the tastes of their core audience, the channel’s branding choices, potential advertiser objections, and government regulations, on and on. The Internet, on the other hand, allows you to create the kind of content you would want to watch and seek out an audience with similar taste. Whereas 2 million regular viewers would be considered a flop on a broadcast network, it would be a phenomenon on the Internet. Take, for example, the acclaimed Internet series Quarterlife. The groundbreaking series attracted a loyal audience on the Net and drew financial support from major advertisers like Toyota and Pepsi. But NBC gave the broadcast version of the series exactly one airing before yanking it and tossing it on the network TV reject pile.
Another form of creative opportunity that web series offer is the opportunity to create new forms of cross-platform storytelling. Take, for instance, the outstanding H+ from Warner Digital and executive producer Bryan Singer (director of X-Men). It consists of 48 four- to five-minute segments that collectively tell the story of the events before, during, and after an international calamity. Because the story jumps back and forth in time, it allowed the