Archive for the ‘youtube’ Tag

Little Dot gears up for SVoD

The latest news about the commissioning of original documentaries I’ve been doing at Little Dot Studios over the last few months – from today’s Broadcast 

by Alex Farber | 26 October 2017

Absent from our Own Wedding video still Little Dot Studios

Absent from our Own Wedding

All3Media-backed firm steps up commissioning and acquisitions in run-up to launch of service

Little Dot Studios has kicked off a commissioning and acquisitions drive as it prepares to launch an SVoD service later this year.

The All3Media-backed business has appointed former Channel 4 multiplatform commissioner Adam Gee and Beyond Distribution head of acquisitions Caitlin Meek-O’Connor to spearhead the push.

Commissioning editor Gee has ordered his first slate of originals, including Underworld TV’s Sorry I Shot You, Big Buddha Films and Medialab UK’s Absent From Our Own Wedding and Showem Entertainment’s In Your Face as part of a £200,000 investment.

The factual films, all of which run to around 15-20 minutes, will feature as part of the Shoreditch-based firm’s Real Stories online channel, which is distributed via YouTube, Facebook and Instagram.

The shows, due to launch in mid-November, will also be used as the bedrock for a forthcoming direct-to-consumer app alongside a host of third-party programming.

Shared profits

Meek-O’Connor has begun striking deals with distributors, with around 2,000 hours of programming licensed to date. Many of these shows are picked up from suppliers for free, with the profits generated shared equally – Little Dot is set to return around £1.5m to distributors this year.

Co-founder Andy Taylor said he is looking to exponentially grow the firm he established in 2013. The business, founded by Taylor and Selma Turajlic, has doubled in size year-on-year. In 2016, it posted a turnover of £9.8m, up from £5.2m the previous year. Operating profits jumped from £300,000 to £1.2m in this period.

“Someone needs to put a stake in the ground and build a premium mid-form destination because the quality of content currently is poor,” said Taylor. “There has been a massive explosion in mobile video but none of the resource or investment from TV has leaked over. In the next three to five years, I need to build channels with massive scale, which house only premium content.”

Taylor added that he is eyeing a direct-to- consumer launch by the end of the year, with platforms under consideration including Amazon Channels, Apple TV and Roku.

“We need to be on those platforms because the monetisation opportunities are so much better. It’s harder to get reach, but they offer much higher advertising rates and we can experiment with SVoD too,” he explained.

Real Stories is being touted as a subscription forerunner, with launches for science and history themed sister channels Spark and Timeline also being weighed up.

In September, Barcroft Media’s YouTube channel Barcroft TV launched an ad-funded TV app. However, Taylor is not turning his back on the digital giants and is putting particular focus on Facebook. Changes to the Mark Zuckerburg-run platform have meant that Little Dot video viewing has soared, from virtually zero to 150 million monthly views in just three months.

“The new Facebook”

From his 120- strong staff, Taylor has appointed eight Facebook-dedicated editors who are tasked with closely tracking the changes to its algorithm and reactively clipping and posting videos for maximum exposure.

“We are trying to grow the digital brands of the future,” said Taylor. “Our bet is that over time, the platforms have to favour premium content – because that is what advertisers demand.”

While people visit YouTube less frequently than they do Facebook, they tend to stay for longer and are happy to watch 15 to 20-minute videos. Facebook visitors prefer shorter clips. Taylor said that Instagram, which has three Little Dot editors assigned, is fast becoming “the new Facebook”.

Sport is another area of focus, with Sky Sports commercial manager Rory Rigney hired as senior partnerships manager to forge ties with rights holders to manage their channels. With talks under way with major football and cricketing governing bodies, the sports-themed channels will join Little Dot’s network of broadcaster and producer- owned channels, including ITV, Warner Bros, Discovery and Turner, as well as All3Media.

{text courtesy of Broadcast}

Advertisements

Little Dot hires Adam Gee for YouTube push

From today’s Broadcast

Broadcast magazine online homepage 2017-07-13

Little Dot hires Adam Gee for YouTube push

13 JULY, 2017 | BY ALEX FARBER

Former C4 commissioner to invest £200,000 in originals

Little Dot Studios has hired former C4 multiplatform commissioner Adam Gee to oversee a £200,000 YouTube commissioning push.

The Shoreditch studio is planning to order 10 films of 15-20 minutes for its Real Stories factual channel, which has built up more than 750,000 subscribers and 175 million views since it launched in 2015.

To date, the channel has been populated with content licensed from backer All3Media, as well as distributors including DRG and ITV Global Studios, but it is now keen to order original programming from producers.

Gee has been drafted in as Real Stories commissioning editor to oversee the portfolio of human interest one-offs.

He promised to make quick decisions, unlike the “glacial progress of broadcasters”, with the slate of projects scheduled to be live by November.

Authentic, shareable, intimate and upbeat stories about overcoming adversity are on the agenda, with those exposing child poverty, ‘out-there’ parenting or extreme medical cases proving popular on the channel.

Topics such as sex, terrorism, racism, suicide or surgery are not of interest.

The first project, Brittle Bone Rapper, is a story set on America’s East Coast. It was ordered from Andy Mundy-Castle’s fledgling firm Doc Hearts last week.

Chief executive Andy Taylor said the move into originations was driven by a need to experiment on the Google-owned platform.

“The budget for this will come out of our innovation pot,” he said. “The data tells us that human interest stories are working and we are always looking at ways to respond to the algorithm.”

He added that while the available data could inform the programming, there is no substitute for the “sheer gut instinct” of a commissioner.

Content lessons

Little Dot, which will retain the rights to the shows, does not expect to turn a profit from YouTube advertising, but Taylor is approaching the project with a longer-term strategy.

“We will learn more about the type of content that works, how to leverage our brand and audience – as well as the commercial opportunities beyond YouTube. We could end up licensing them to a VoD platform or securing a six-part series for Channel 4.”

Gee said it is important to think “holistically” about any projects pitched. “What is the life of these stories beyond a 10 to 20-minute midform show?”

Separately, Little Dot has hired former Liberty Global exec Kevin Gibbons as chief financial officer and brought in Maria Fernando as director of partnerships, based in LA, to grow its West Coast offices.

Broadcast magazine 14 july 2017 cover

{text courtesy of Broadcast magazine}

 

Oh Shit I’m 30!

My latest commission to go live on All 4, as reported in Broadcast.

 

All 4 signs up YouTube’s Emily Hartridge

YouTube star Emily Hartridge is to create a series about the pressures of turning 30 for All 4. Channel 4’s multiplatform video service has ordered six episodes of Oh S**t, I’m 30! from producer Spirit Media. The series will explore the pressures of hitting the landmark, with each episode tackling a different subject including work/life balance, aging and exploring your sexuality in your 30s.

The show was ordered by multiplatform commissioning editor Adam Gee. Executive producer Matt Campion said a life panic is “something everyone can relate to” on a milestone birthday. “It’s a very real issue that Gen Y are having their life crisis much younger and are faced with the big questions about whether their lives have turned out as they envisaged,” he added. “This series sees Emily light-heartedly experience these very real dreams and fears and bring them to the small screen.”

Hartridge, who recently turned 30, hosted Virgin Media’s The Snap on YouTube after creating her own weekly show “10 Reasons Why…”, which drew over 3 million viewers a month.

TV producers are no good at making YouTube videos

Picking up on the last post I’m glad to see my thoughts on YouTube-type video…

The new YouTube channels are an area where TV baggage is damaging. Some have squeezed out everything that’s really good about YouTube. You want that energy that comes from someone being able to record, edit and bang something out in three hours.

…broadly confirmed from the front line. Hank, one of the fellas behind Crash Course and SciShow, summarises the Lessons Learned from YouTube’s $300M Hole (its first tranche of  ‘Original Channel’ investment) thus:

  1. Spending more money to produce the same number of minutes of content does not increase viewership. Online video isn’t about how good it looks, it’s about how good it is.
  2. People who make online video are much better at making online video than people who make TV shows. This probably seems obvious to you (it certainly is to me) but it apparently was not obvious to the people originally distributing this money.
  3. When advertising agencies tell you they want something (higher quality content, long-form content, specific demographics, lean-back content, stuff that looks like tv) it’s not our job to attempt to deliver those things. In a world where the user really does get to choose, the content created to satisfy the needs and wants of viewers (not advertisers) will always reign supreme (thankfully.)

He concludes “Of the 114 channels that YouTube funded as part of this initiative, my educated guess is that exactly one earned back its advance…”

No real surprise there gauging by the UK channels which are broadly made as cheap TV which looks …cheap – but not cheerful. Cheerful is the energy referred to above, in a world where there is no such thing as a jump cut and individual personality is what communicates the joie de vivre.

Polling Day (Stand up and be counted)

Tank Man

China evidently blocked access to Twitter two days ago, two days before the sensitive 20th anniversary of the Tiananmen Square crackdown.

Other Internet services that seem to have become inaccessible include Hotmail, Flickr and search engine Bing.

In recent years, access to YouTube, Western media outlets and many other websites has also been blocked, often before or after ‘sensitive’ events. And now’s a good moment to remember those who blocked themselves.

A few days after the blog of artist and government critic Ai Weiwei was shut down, he simply opened a new one (which you can see here, in Chinese). Ai also uses Twitter.

******

Only 22% of eligible British voters have declared their intention to vote in the European and county council elections today. In 2004 the turnout in Britain for the European parliamentary elections was 38.9%.

******

Be irrepressible

Chat rooms monitored. Blogs deleted. Websites blocked. Search engines restricted. People imprisoned for simply posting and sharing information.

The Internet is a new frontier in the struggle for human rights. Governments – with the help of some of the biggest IT companies in the world – are cracking down on freedom of expression … learn more

%d bloggers like this: