Streaming bundle
A subscription home for a longer body of work. Episode lengths, chapter breaks and how much back catalogue a viewer can find on arrival are all set while the piece is being made, not after it is finished.
Entertainment services from Datura Kilos
Three service lines, one project plan
Partners usually come in through one line and pull in the others as the work develops.
Datura Kilos, Inc. is a Los Angeles entertainment company registered in California. We work in three connected lines: production support, live event and venue work, and audience-facing content formats. This page explains what each line covers, what it does not cover, and how to tell whether we are the right fit for a project.
The three lines are not packages you buy off a shelf. A partner with a finished show and no home for it uses a different part of the company than a partner with a room and no programme. Read the three sections below in order if you are still shaping the idea, or jump to the section that matches the problem you already have.
Production support
Production support covers the making of content: concept development, planning, crew coordination and delivery. We work on projects sized for streaming, short-form, or a live capture that gets cut afterward.
What we need from a partner at the start is the goal and the audience, not a finished script. We will push on the format before we push on the budget, because the format decides most of the cost. A one-hour programme shot as a single continuous capture and the same hour shot as a cut multi-camera piece are different budgets, different crews and different delivery schedules, even when the subject is identical.
Bring the goal and the audience. Everything else we can shape together.
- Concept development and format testing
- Production planning and crew coordination
- Single-capture and multi-camera delivery
- Handoff files cut for a specific home
If a project is better made by someone else, we say so in the first conversation rather than at the contract stage.
Live event and venue work
Planning, curation and on-site delivery for live events. We start with a walkthrough, because the room decides the show.
This line covers programming a room, sequencing a night, coordinating the technical side, and running the event itself. Sightlines, sound and door flow decide what kind of show a space can hold. Some rooms are wrong for the event a partner has in mind, and it is cheaper to learn that before tickets go on sale than to discover it on the night.
- Venue walkthrough
- We visit the room before anything is booked. Capacity, ceiling height, load-in access, sound bleed and where the audience actually stands are all read on site, not from a floor plan.
- Programming and curation
- What runs, in what order, and how long each part holds. A night is sequenced like a set list — the opening act carries a different job than the closer, and the middle is where attention usually breaks.
- Technical coordination
- Sound, lighting, power and the capture position, planned together. If the night will be recorded, the camera and audio positions are chosen during the walkthrough so the room is not rearranged around them later.
- On-site delivery
- Doors, cues, timings and the run of the evening itself. Someone from our side is in the room for the whole night, not just at load-in.
- Recurring series
- Where the second and third nights matter more than the first. A series is planned as a run, with the format settled early so each night does not have to be rebuilt from scratch.
Audience-facing content formats
Formats covers how finished work reaches people. Each one changes how a piece is written, shot and edited, so we plan the home for a project while it is still being shaped.
Ad-supported tier
Free to the viewer, funded by advertising. Ad breaks have to be designed into the edit rather than dropped on top, which means the running order of a piece is decided earlier than it is on a subscription release.
FAST channel
A free, ad-supported channel with a fixed schedule. Viewers arrive mid-programme, so a piece has to hold up without a viewer having seen the opening. Parks Associates counted 60 FAST platforms in the U.S. market in 2026 reporting, which is why the distribution choice cannot be left to the end.
Short-form vertical cut
Built for phones and for people who arrive without context. It is usually cut from material shot for something longer, and the shooting style is chosen with that second life in mind.
Audio companion
A podcast or audio version of the same material, often recorded alongside a live night. It gives a project a second life without a second shoot, and it travels to listeners who would not have found the video.
What we do not offer
Clear boundaries save everyone a meeting. These are the four things partners most often assume an entertainment company does, and which we do not.
No media placements
We do not sell advertising space, run an affiliate business, or take a fee for routing a project to someone else's platform. If we recommend a home for your work, we are not paid by that home to say so.
No guaranteed numbers
We do not promise views, attendance or platform placement, and we do not take work where the only deliverable is that promise. We can plan for an audience and build the path for it; we cannot hand you a figure in advance.
No rights we do not hold
We do not hold rights to sports or scripted properties we do not own, and we do not act as a talent agency. If your project needs a licensed property we cannot access, we will tell you in the first conversation instead of after a proposal.
How the three lines combine on a real project
A typical combined project starts as a live night in Los Angeles. The event is programmed and delivered, then captured and cut for a streaming or ad-supported home, with a short-form version built for social. The audio from the night can become a podcast episode.
That is one project with three deliverables and one plan. It costs less and holds together better than commissioning each piece separately, and the audience built at the event carries into the content instead of being rebuilt from nothing.
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Programme and deliver the night
Venue walkthrough, running order, technical plan, and someone from our side in the room for the whole event.
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Capture and cut for a home
Camera and audio positions are chosen during the walkthrough, so the finished cut has a streaming or ad-supported destination rather than looking for one.
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Build the short-form and audio versions
A vertical cut for phones and an audio companion from the same night, so one booking produces work in three places instead of one.
What we need from a partner
The useful starting information is short. Constraints make the plan better, not worse — we would rather design around a real limit than discover it halfway through.
- What the project is
- One or two sentences is enough at the start. A live series, a filmed programme, a format you want tested — the shape of it, not the finished treatment.
- Who it is for
- The audience you already have, the one you want, or both. If the goal is an owned audience, the signup or the follow is part of the design rather than a marketing add-on.
- Roughly when it needs to exist
- A fixed date, a season, or an event it has to sit alongside. A hard date changes the order we do things in far more than it changes the price.
- What already exists
- A venue, a following, a catalogue, a room you can use. Existing assets are usually the cheapest part of a plan and the easiest thing to build on.
- What can be measured
- Ticket scans, signups, watch time, follows — whatever you already track. If the goal has a number attached, say which number, because that decides what gets built first.
- A fixed budget, if there is one
- Say the number if it is firm. A real limit produces a sharper plan than an open brief, because it forces the format question early.
How to judge fit
Ask three questions. Does the project need something made, not just advised? Is there a real audience with a reason to show up or watch? And is there a constraint we can plan around, whether that is time, money or a fixed venue?
If the answer to all three is yes, we are likely a fit. If the project is still at the idea stage with no audience and no limit, the honest next step is a short discovery conversation rather than a proposal.
- Something has to be made — a night, a programme, a cut, a series.
- There is an audience with a reason to attend, watch or listen.
- There is at least one real constraint we can plan around.
What a first engagement looks like
First engagements are deliberately small. A paid discovery phase, a pilot piece, or a single event. The point is to find out whether the idea holds before a full budget is committed.
If it works, the second engagement is usually larger and clearer, because we are no longer guessing about the audience or the format. If it does not work, everyone has spent less and learned something useful. That is the whole reason we sequence it this way.
Discovery conversations run Monday to Friday, 9:00 AM – 6:00 PM, from our office at 1120 W 6th Street in Los Angeles.
Talk to us about a project
Tell us what the project is, who it is for and roughly when it needs to exist. If you are not sure which of the three lines fits, say that too — working that out is the first thing we do together.
Datura Kilos, Inc. — 1120 W 6th Street, Apt 1413, Los Angeles, CA 90017, USA. Registered in California.