Jane Turton, CEO of All3Media, joins Cecile Frot-Coutaz, Head of YouTube, EMEA, in conversation as part of the RTS Digital Convention 2020.
Cecile and Jane discuss the differences in culture between tech companies and the more traditional production sector, the next generation of creatives, capturing audiences on tech platforms, and the challenges of keeping YouTube a safe space.
TikTok has allowed any of us to become social media famous, with the app showcasing new talent surfacing from viral trends that anyone can participate in.
One of the most popular trends is the #WipeItDown challenge, which shows users as their normal selves in a mirror before wiping the mirror down to reveal a surprising alternative image.
Stars such as Jason Derulo and Will Smith have had fun with the trend. The videos are set to the song Wipe It Down by BMW Kenny and Theelboy.
Navi Lamba, Digital Commission Exec for E4, commented: “It’s been so brilliant harnessing all the creativity the lockdown has inspired in our indie partners.
“We’ve commissioned across a number of genres and a mixture of animation and live action, hearing the stories of real people across the country and those of well-known faces in comedy, music and TV and all are tailored to work best for our young audiences.”
Trust isn’t scientific, it’s instinctive, it comes from the gut, not from the brain,” Martin Lewis told the Cambridge audience, and he should know. The founder of MoneySavingExpert.com, consumer business warrior and the man who sued Facebook and won is also the most trusted man in Britain, according to Google.
Video-sharing platform TikTok was the word on everyone’s lips leaving the second session, “Exploring Gen Z”. Many had not heard of the Chinese-owned social media sensation, but were keen to find out more in order to reach the elusive next generation of viewers. Many market researchers describe Generation Z as those born after 1997.
Defined by session chair Rob Chapman as the generation “for whom 9/11 wasn’t a coming of age event”, Gen Z were instead shaped by the recession of the last decade.
There’s a long-standing TV industry conception that online original content is too low in quality, too niche and too difficult to make profitable. But that view is starting to look obsolete thanks to inventive digital-first companies such as Barcroft Studios, Little Dot Studios and others. Successful business models for premium online content are emerging as both profits and awards start to roll in.
At roughly the same time the Prime Minister faced three consecutive defeats over Brexit in the House of Commons, across the road in Portcullis House another important discussion was taking place – an RTS All-Party Parliamentary Group debate on “The future of TV journalism in an age of fake news and disinformation”.
The old saying “Think global, act local” is the new mantra for the Netflix-led, global tech platforms as they push for ever greater numbers of subscribers. In recent months, Netflix, Apple and Amazon have all started to open offices, staffed largely by locally grown TV commissioners, in the UK and other non-US markets. Simultaneously, the tech platforms are ramping up local marketing efforts.
Amazon has also jumped into local sports markets, purchasing major live sports rights for the UK, including a Premier League football package and US Open tennis rights.
Like most editors, Matt Meech started out as a runner, working at a post-production house in Soho where he spent his spare time learning how to use editing software Avid.
Matt put together a showreel which impressed his bosses enough for them to give him a job as an assistant editor.
