Autor: DPP

The DPP - New Content Creators

Today there is more content created for non-broadcast distribution than for broadcast.

[code]„Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way around and through it. If nothing within you stays rigid, outward things will disclose themselves.“  

BRUCE LEE[/code]
The Context
There was a time – and it wasn’t very long ago – when the creation of audio visual content for any purpose other than Film or TV was considered a second-class activity.

But there is now more content created for non-broadcast distribution than for broadcast – and often with creative and production values that equal or even exceed those of TV.
By ‘non-broadcast’ we mean content created directly for online distribution, via YouTube, Facebook, Snapchat and other platforms; commercial or branded content; corporate communications materials; educational content; professional applications, such as medical, military, governmental use; consumer experiences, and so on.

[code]„I see huge potential for more corporate applications. I see more and more corporate companies who need to structure the workflows of marketing and communications content, and instructional video, HR applications, internal marketing. Did you know that one of the largest retailers in Belgium has an internal production company of 300 staff!“

[code]„Not only is video a magic tool for public facing or customer facing conversations, but also for large, mobile brands with multiple offices, needing to communicate their vision and their messages for staff training, corporate responsibility, economic strategies, mid term plans, short term plans, and all the rest of it. Video is the way you can communicate with emotion, with passion that still images and the written word can’t always convey.“

Indeed, it is now difficult to find a walk of life in which video does not play a role. And the way that video is being used in brand communications is changing: it isn’t simply about advertising; it’s about building relationships. 

[code]„The biggest changes in the last few years have been in understanding how brands should be talking to consumers and what’s acceptable and possible as a brand. You don’t have to sell any more, you can talk to your audience. And brands have been developing on their social media channels in that way, as well as in the way they create their videos. It’s been a huge transformation: you can just make great stuff, and it can be picked up."

 Such are the available audiences for non-broadcast that the very term may already be redundant: 

[code]„Broadcast content today is anything that is broadly cast: it goes out and hits a wide audience. So whether that’s an antennae on a hill or whether it’s through IP; whether it’s consumed on a phone or on television is irrelevant: it’s the size of the audience that it’s hitting – that’s what broadcasting is.“

ADOBE [/code]
Traditional broadcasters are struggling to make the adjustment: 

[code]„Many of our customers are, quite frankly, struggling to keep up. They don’t know if they should be getting into something, or if it’s going to be a waste of time or money. So they are trying to keep a toe in the water of each of these different kinds of platforms, saying “we should be doing this, we should be on Snapchat, we should be on Facebook, what do we do on Twitter, is Facebook live going to be the replacement for TV news” etc etc? And they realise also that what they were doing before in basically just taking their linear TV content and chopping it up into pieces and pushing it out on the Internet exactly as-is, isn’t working for them anymore.“

VIZRT [/code]
This demand for non-broadcast content, together with the need for producers who understand how to work with it, has led to the growth of a very significant new production community. These are the digital agencies, online channels and in-house corporate production teams that rarely, if ever, produce content for traditional television. They work entirely outside the established culture of the independent television production companies.
But have these new content creators yet established a distinctive culture of their own? If so, then how should that culture be characterised; just how different is it from the independent TV production company world; and can we expect the two cultures to begin to influence each other?

These are the questions this DPP Survey Report seeks to address. The report is the first ever piece of qualitative research looking into the operational models of new content creators and the suppliers who enable them.

New Content Creators

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