Wednesday, July 6, 2022

Interview With Joe Tremols and Natalie Sigillito of Tilted Globe Entertainment

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Recently we had the pleasure of interviewing Joe Tremols and Natalie Sigillito of Tilted Globe Entertainment about their groundbreaking new platform for live streaming events, with secured online viewing. 

 1) What initiated the two of you to partner together and what lead to the conception of this innovative new platform for secured online viewing, of real-time live events?
Natalie– We are a mother-son team.  It comes naturally to us to work together.
Joe– While I was attending the University of Wyoming I founded a non-for-profit Theatrical company. When I was producing my first show I asked my mother, Natalie, if she would be able to make it out to Wyoming for the show. Due to prior commitments, she wasn’t able to so and she told me to “just stream it” and she would buy a ticket to watch it.  I said that wasn’t an option because there was nothing existing at the time that would allow me to stream a show and meet the necessary royalty and union requirements and standards. Natalie, being a mom and from the “show me state” of course said that there had to be something and that I just hadn’t looked hard enough. So over the next few months we talked daily, back and forth, as I went through what I would need in order to stream and meet the requirements of union and royalty. This resulted in designing everything we would need in order for us to develop what would become TiltedGlobe. Thus Natalie suggested I move back to Miami and we started TiltedGlobe together.

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2) What problems would you run into with streaming live events before your platform for viewing became available?
Natalie– Professional live events couldn’t exist online because they did not answer to contractual obligations of the industry.  Small indie performances and productions were available but not theatrical performances, major Broadway shows, or even the majority of music concerts in a secured platform where views could not be shared, copied or downloaded while being monetized.
Joe– You couldn’t live stream theatrical performances or copyrighted theatrical works because of the royalty and union requirements could not be met with other services. Furthermore, if you streamed a show or a concert you had no security to ensure each view equalled a ticket sale. Thus you would always end up with this large gap where number of viewers would far outweigh the number of tickets sold. But you would have to pay the bandwidth cost for every viewer. So the streaming companies would just back bill you for the overage.

3) How exactly does your structure differ from how events are currently being streamed?
Joe– We are able to provide an actual one ticket to one view ratio. We are the only service that provides Secure Non-Broadcast streaming. This means that with us you don’t end up with the equivalent of a cell phone plan that bills you after the fact for viewer hour overages because they couldn’t ensure that one ticket sold only equates to one view.
Natalie– Competitors live stream over their website sites, but there is no one to one security in their streaming. In the past, there have been huge gaps in the industry.  For instance, Producers using existing ticketing websites may have 25 to 40 tickets purchased, yet the bandwidth rate is higher due to shared logins and views resulting in possibly 8 to 10 times the number of people watching, thus the ticket revenues do not equate to the cost of bandwidth usage.  With TiltedGlobe a producer knows the absolute defined cost of doing business prior to setting a ticket price and is assured that there is no more than one view accessing a ticket at any given point and time.

4) How is each show managed, and is it user-friendly?
Natalie– We are a one-stop shop.  So many times we have had clients who are familiar with live streaming events through a tricaster where there are several steps needed to go through or connect.  With our program you don’t have any added unnecessary steps, we are a fully encompassed, user-friendly, full-service single source.
Joe– Producers sign up and register their shows, select their own ticket price, can scale pricing, etc. we give them an experience that is no different than what they would have if they were renting out a brick and mortar theatre. Our rules of doing business mirror those that producers are use to as we mirror the industry standards.

5) Who is this platform best fitted for, and can it be used anywhere?
Natalie– We set out to design our business model for Broadway and theatre, but it was really the music world that came knocking at our door.  This platform is suited for any live event ready to expand beyond a brick and mortar or concert venue.
Joe– TiltedGlobe can be used anywhere there is an Internet connection for both the producer and viewer end.  We’ve made it such a user-friendly process it is readily available for anyone. From a producer standpoint, this platform is best fitted for entertainment producers.

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6) What advantages does this provide for Producers?
Joe– The ability to not only reach but monetize an international audience and no longer be confined to the local audience or the maximum number of seats in the theatre. It gives a producer the chance to sell millions of tickets in one night where as they may not sell one million in a year of brick and mortar business.

7) Is there a verification process to register a show as the Producer?
 Joe– We have EIN number verification and check for an official venue to ensure that every show is professional grade.  We want the highest quality events showcased on our platform.
Natalie– We are a business model for professional productions. We provide a full-service business model for professional productions, assuring each live event stands shoulder to shoulder on the site with other professionals.  Our goal is to provide the tools and support to professional entertainment so the best quality stream possible can be delivered to a global audience thereby providing productions with a repetitive new consumer revenue stream.

8) Overall, what would you say is the added profit value to both the performers and producers who wish to start using this new platform?
Natalie– There is an immense opportunity to increase revenues with online viewing tickets.  Live events can now compete for a market share of online viewing audiences.  Further, the opportunity provides the possibility of driving new audiences to the brick and mortar theatre,  Even in this early stage, we have received comments from viewers that they would attend a live performance or venue when possible.  Meanwhile, TiltedGlobe provides the ability for increased audience attendance from viewers who cannot attend the venue in person.
Joe– Many theatres that can never fill the house, now can increase their revenue and reach an audience that they never could before. Many time theatres that even sell out don’t break even or receive much if anything because the cost of the production and the names attached are so expensive that their simply isn’t enough seats in the theatre to sell enough tickets at a reasonable price so that you can break even.   Now that you can extend past the physical venue, you can add hundreds of more tickets to be sold to streaming viewers and we can start having more than just 20% of Broadway shows breaking even.
Natalie– No one wants to buy Cds anymore, artists have lost their main source of income.  Everything they make now is tour based.  Expanding their platform for a higher volume of viewership will increase their revenue exponentially.
Joe– Kanye West’s show failed because of security issues.  Three million views on one shows ticket.  Madison Square Garden cannot fit that many people into a venue.  That many views is equivalent to half of a tour.
Natalie– The test market for live stream theater worldwide averaged at about one hundred and fifty thousand views, prior to launch.  There is a global appetite for live events, and there are a lot of great analytics that show that. In one 24 hour period, the numbers competed with 2.7 years of walk in audiences.
Joe– 82% of viewers said they would pay at a mean average of 15$ a person to view a show.  What makes us unique is the guarantee that you are selling individualized views.  The fact you can sell 250 seats in house, and now an added 5k worth of virtual seats, and actually quantify that to put a secure dollar amount on it.
Natalie– Webinars, stand up comedy, concerts, there is an endless array of uses for this platform and to use it in any aspect of these educational and entertainment industries that increase the shows bottom line.
@Tiltedglobe – Twitter
@Tilted.Globe – Facebook

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Noelle Elia
Noelle Elia
is a Financial analyst at PSPC. Graduated from Telfer School of Management, Finance/Accounting with interest to Entrepreneurship and New Media.
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