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Get ahead in digital in 26 with the telecast digital boot camp
and how to make money in digital.
We'll see you there. Hi, I'm Justin Crosby and
welcome to telecast. This episode was recorded live
at How to Make Money in Digital in London last year, a room full
of producers, founders and commissioners grappling with the
same question. How do you actually build
sustainable businesses in the digital first world?
Across the day, The Drop editor Andy Fry spoke to people who
aren't theorizing about this shift.
They're already doing it. From Sam Barcroft on Building
digital companies with an exit in mind to Spirit Studios, Matt
Campion on why treating digital as a side hustle is the biggest
mistake producers can make. You'll also hear from Quinta
Studios, Garrett Kemming on scaling documentary audiences
globally, Hurst, Sam Pearson on commissioning digital first true
crime and history, Mt VS Amy Parker Williams on brand LED
Social Originals and Ben Doyle from After Party Studios and why
talent first thinking changes everything.
What links all of these conversations is a very clear
message. Digital isn't a bolt on anymore,
it's where the audiences are, where businesses are being
built, and where producers have to get much sharper about IP
monetization and ownership. If you're trying to work out how
to make that transition or how to do it better, this episode is
a really good place to start. Hope you enjoy the show.
Hi, my name is Andy Fry. I'm here at the telecast How to
make money in Digital event with Sam Barcroft, founder of
Creative Ill and prior to that, Barcroft TV.
Sam, lovely to see you. You kicked off the day for us
with a really interesting session about your experiences.
Can you kind of summarize the key messages you were trying to
get across in that? So thanks.
Nice to see you, Andy. I suppose the key message I was
trying to get across was that if you're an entrepreneur in the
digital video space, you've really got to think about your
end game, right the way through building your business.
So if you don't know where you want to get to, you're going to
end up going down lots of different dead ends and at bad
places. So it's really about focusing on
the outcome that you want to build from your endeavors in the
digital video space. And so my talk was about how to
sell your company because in the end, I think most digital video
entrepreneurs get so long in the tooth quickly that often they
want to sell their business. And so it's really trying to
help people to understand how that the five steps towards
selling your digital business. Yeah, your five steps were
really interesting because they kind of broke into some creative
messaging and some commercial messaging and, and this idea of
your, your superpower and, and, and the importance of going
after a niche, which I guess that's kind of a slightly
different story to what it would have been when you started out,
wouldn't it? But tell us about why it's
important to go after a niche. Well, basically the digital
video ecosystem has exploded to the point that there's 500 hours
of TV put up onto YouTube every minute of the day.
And so to find audiences, you can't try and compete with the
incumbent big entertainment brands.
You really have to build a community now.
And actually, it's much easier to build a small, highly engaged
community right now across these platforms and is to reach
millions of people every day, especially when you're starting
and you actually build a better community because they're
willing to spend money with you rather than just to watch the
video. So I think it makes much more
sense for people to narrow down to one thing that they think
it's an unmet need on a platform and to really try and explode
into an unmet need to actually solve a real problem online.
And it sounded like that unmet need, if it's a passion, if it's
your fairy tale as you put it, that's even stronger, isn't it?
Because that I guess you come across as more authentic.
Yeah, you're definitely going to shine if you're talking about
something you love. You're also going to have much
deeper knowledge, which means your videos aren't going to run
out of steam. And thirdly, people can just
tell if they you're trying to build a community, they'll know
whether you're one of them or not.
And so if you go deep into those spaces, also building on YouTube
and digital takes time these days.
So you have to be able to stick with it.
That's literally the number one rule is stick with it.
And if you love something, you're much more likely to stick
with it than if it's something that you're not that bothered
about. Another of your interesting
points is about firing yourself. And I suppose that that got into
the into the the thorny issue of of selling the company you've
built it, it's time to sell it. So explain the fire yourself
concept. So.
I think if you're building a business that is fit to sell,
you can't be a bottleneck within that business as an individual,
within that team or within that process.
So I always encourage people to figure out how they can build
long lasting systems and processes so that if you pull
them out of it, pull the founder out of the business because the
business still does really well. So after a certain amount of
time, you need a succession plan.
You need to build a business around systems and procedures
and ways of doing things, rather than just an individual bit of
talent OR hard work. OK, so now Creativille.
Tell us a little bit about what Creativille is for people who
don't know. So Creativille is a small
business that is run by me that exists to help business leaders
in the media space figure out their unique strategy.
So I work one-on-one with business leaders and they're
sometimes they're leadership teams to figure out exactly how
they can get fantastic success in the digital world.
And it's really fascinating. I find it brilliant.
I work really well with people who are trying to to figure out
some really tricky problems. It keeps me excited because no
problem, no two companies are the same and problems can feel
very big, but when you share them they can then feel quite
manageable. So I love to help people
transform from being bogged down by 1,000,001 different
challenges into having a really clear plan about how they're
going to achieve their own objectives.
And coaching people through that over a number of sessions is
something that I love and that often brings really fantastic
results for those people. So, so finally, I know you had
to run away for some of the day to deliver a module.
Did you manage to come back and see some stuff towards the end
of the day and and if so, any particular highlights for you?
So massive highlight for me was watching Tom Gosselin from
Strong Watch Studios. Big fan of Tom's.
His decks are something to behold.
You know, I can see why they win a lot of business because his
sales presentation was off the charts.
But also he's a brilliant thinker, Tom.
He really understands models and he understands how to articulate
these different ways of working. And his work on whether we need
development producers anymore just was fascinating to me.
The way that strong watch give one person responsibility for
the idea for a show, developing it, pitching it, and then making
it and delivering it and even directing it on the day and then
worrying about the distribution. That is a really, really
brilliant new kind of fully verticalized model.
But I think it's something we all need to think about, you
know, is that an optimum way of making premium shows for YouTube
in a really sensible, scalable model?
I thought that was genius, yeah. Yeah.
And I loved what you had to say about iteration, about some of
the things they learned during the course of that process, the
way they changed their content. Yeah, I mean, like that is the
classic test and learn methodology.
You know, you're getting all this data within seconds of
uploading a video. You can see what's working and
what isn't. And their producers actually
having the responsibility of not just coming up with the idea for
the show, but actually having to do those tweaks in the
distribution and delivery. I think that's something that a
lot of people could scale from and learn from.
It might be a model that's adopted, I would imagine by
another set of studios as well as from Watch.
Brilliant Sam, lovely to talk to you and thanks for your time.
Thanks, Andy. Take care.
I'm with Garrett Kemming of Well, the founder and managing
director of Quintus Studios, who's been to a lot of our
events, been very supportive of the events over the years.
Tell us a bit about Quintus. Tell us why your company, which
started out in more traditional media, is interested in this
digital first base. Well, I mean we are meanwhile
one of the biggest independent documentary channel networks on
YouTube, Facebook and Snapchat. And this is just our home turf.
I would say meanwhile after TV, we did a very successful, you
know, career as a company in TV. But then we saw the opportunity
to pivot into digital at a very early stage and we we saw a
market that was nascent, but that.
Where we could grow. With the market that was very
interesting and actually events like today and actually the
market today shows us that we did the right move.
I was going to ask you that, is it your sense of the market is
now catching up with your vision that you're beginning to see
that hybridization that we've talked talked about for years?
Absolutely. I mean, when we started, people
and content owners were laughing at us when we asked them for
content. But today, I mean, we saw that
YouTube is the biggest TV platform in the world, right?
As I said. So we're ATV broadcaster on
YouTube. So to say, just briefly, give us
a sense of the kind of programming you do.
So if people wanted to know what sort of content you're you're
focusing on, what would you pick out?
Well, everything that is unscripted content is our home
turf from business related to nature to history to ancient
history to broad science and engineering.
Everything that is informative content that comes from TV or is
a targeting a very, let's say, digital audience is what we're
doing. One question I've been thinking
about during the course of the day, how, how, how much have you
been able to take your content out into different languages?
Are there opportunities now for it to be more than English
speaking for you to use maybe AI tools or other kinds of tools to
to make it bespoke for different markets?
Yeah, we're working in 4 languages mainly, which is
English, German, French and Spanish.
Our problem was that our, our content is like on a very high
quality and our audience was expecting very high quality
dubbing. So languages.
So we couldn't turn into AI for a long time.
But for the last, let's say 12 months, let's say 18 months, a
hybrid model of, you know, AI with, with humans behind it that
works meanwhile makes it a lot more, a lot more easy.
Brilliant. OK, so you've been here all day.
Any particular highlights, any sessions that you particularly
enjoyed or or any messages that came through that you thought
were interesting? Good, good question.
I mean there, there was a lot of education.
It felt like there was a lot of education for people that want
to get into that business and we are in this business.
So there was not so much new stuff.
But I mean, being out there with all these creative people in the
industry is always amazing because you always get back with
510 great ideas and, and inspirations of what how you can
pivot your or projects that you can do or how you can pivot your
your business. Well, I mean, five of them or
five of them always turn out to be bullshit after you sleep a
night. Over it, but a lot.
Of them are really good and it's always good to connect.
But I think one really interesting thing is this idea
of revenue diversification. So we've had people today
selling their photos, launching auction platforms, all kinds of
different ways of taking your community and and making
revenue. Is that something that from your
perspective, from your business model that you might be able to
do as well? I mean, can you see yourself
doing that going into different kind of areas that may be a non
traditional? Yeah, definitely we're working
on this very much because so you know working with TV content
mainly and and especially because we work in on a global
territory or let's say in global territories, many of them are
non host driven. So that means we don't have a
face attached to that. So that means it's a very much
ATV business. So content 1st and that makes
the money when it comes to brand partnerships, products behind
this that is very reliant on having a face attached to it,
which we don't have. But we pivot into this to
diversify our revenue streams. That is a very important thing
in digitally, definitely. Brilliant Garrett, Well lovely
to talk to you and hopefully see you at the Digital Concept Forum
later in the year. Certainly.
Thanks a lot. I'm here with Matt Campion, Co
founder of Spirit Studios. Matt, lovely to be with you.
You've just come off the stage, given us a really interesting
presentation. Can you distill it for us?
Tell us what you're attempting to get across in that piece.
Yeah. Well, what I was trying to do
was get across the fact that I think it's time that people need
to move quickly and move into digital.
They need to be able to create a multi platform business if
they're going to survive. You know, I think we can only
see the trends, things like the BBC this week announcing that
they've, they're killing off 150 million of their budget.
We're only going to see that times get more and more
difficult. And, and I think, you know,
whilst we all want to continue creating Commission content,
because that's how, that's what we sort of we've been, we've
been brought up to do, actually, we've got to move into a new
world where we become the commissioner of the broadcast,
of the producer ourselves and find this new way of working.
You guys are spirit. You've been doing that for 10
years. It's very much been part of your
modus operandi. If you had to give advice to
people who are a bit nervous about it or haven't really
started the journey, what is the key to being able to make that
transition? Do you know I got asked this
question so many times. You've got to treat it like a
side hustle. I think the way you're going to
think like a creator. I think we've always been like
that, you know, right from the get go.
You've got to be entrepreneurial and you've got to.
You've got to just get going. You can't.
You know, whether it's money, whatever is holding you back,
stop it. Just do it.
Screw it, let's do it. It's my motto.
It was interesting. You showed us a really
interesting example of a mistake you made.
You know the 20 question thing. Everyone today has talked about
mistakes, but mistakes shouldn't be seen as mistakes, should
they? They should be seen as test and
learn. 100% I, you know, I'm, I mean, I'm, I suppose I love self
development, but it's just you're failing forwards.
I know that's a cliche, but you really are like I, I don't, you
know the word fail. We use it to create drama in
what we're talking about. But really it's a learning
curve. It's the next notch on your way
up and it's a hurdle. Once you've got over that
hurdle, you know you'll, you'll get over it.
I think going back to your last question, people give up too
easily. You can't give up.
This is something that once you start, you've got to keep the
machine going. Brilliant.
Last question, you talked about The Lion Whisperer.
Give us a sense of why the Lion Whisperer has worked.
What is it the core of that that's really, you know,
interested audiences? The Lion Whisperer, just two
things that I think work for for for the brand.
One is its mission and purpose. I think it connects with people.
It's on a mission to save the plight of lions.
When we first started this, there's only 20,000 lions left
in the world. That's now increased population
has increased. The numbers are going the other
way. But again, climate change is now
something that we weren't facing 10 years ago on the channel.
And, and now there's there's, you know, there's stats out
there that say that lions could be extinct by 2050.
The other thing I would say is that we're delivering Natural
History in a way that you don't see anywhere else.
We're doing it up close and personal.
We're even putting lions go pros and things on the lions and and
we're doing things like allowing the viewer to go on a on a hunt
and a kill with them. You know, it's, it's we're,
we're getting, we're using technology and kit to, to get to
places that I've never been seen before.
Actually, just to extrapolate from that, your session was
about building a multi platform powerhouse and I guess that that
notion of purpose is something you've taken into your other
work, isn't it? Absolutely.
The tagline of Spirit is that we don't just create content, we
create content with Spirit. You know, we're about impacting
life for the better, inspiring, entertaining.
We also have our own side hustle, which is a mental health
platform called I Am Whole. And I Am Whole is about using
pop culture in a digital world. To.
Challenge the stigma surrounding mental health and to make a
difference in the world. But we do it through comedy, we
do it through music concerts, we do it through documentary.
You know, I think as a business, we're an entertainment business.
So let's entertain people. But also, I think I think it's
more powerful when you've got entertainment with purpose.
Brilliant Matt Campion, Spirit Studios, thank you for your
time. Thank you, lady.
I'm here with Sam Pearson from Hearst Networks.
Emya. Sam, tell us a little bit more
about your role at Hearst. So my role at Hearst Networks is
quite multifaceted. So I I'm the head of short form
commissioning within the programming team, but I also sit
within the kind of marketing team just like from a little bit
kind of looking at the creative production, paid media, the
organic social media production, basically anything that Hurst
Networks does, there's production focused on
commissioning from a digital first perspective.
Social media first has my fingerprints on it.
Brilliant. So you've just come off a really
interesting session with a bunch of digital commissioners.
If you had to provide a bit more color in terms of shows you've
commissioned, projects you've worked on, could you pick out a
couple of examples for us? Absolutely, yeah.
I mean, so one that isn't out yet, but it's coming up called
History Crush, I'm really excited about.
So that is with a TikTok and Instagram creator called Kate
Kennedy. She's called the History gossip
on online. She has a really kind of fresh,
exciting new take on history communication.
Very, very, very different. I am not going to try and
imitate it because I'll do it very, very poor justice.
I can only kind of recommend that you go and find her and
look at it yourself. But she's she's got this.
She comes at it from a historical perspective.
She's got all of the academic qualifications, but it's, you
know, it's coming at it, you know, from a comedic
perspective, entertainment focused, but it gives you that
real kind of like historical insight at the same time.
I'm really excited about that one that's coming out at the end
of May, one that we've just done that, which come out of the end
of last year called Unbreakable survivor stories.
Real kind of like value proposition for me in terms of
kind of getting unheard, marginalized, misunderstood
stories out to a true crime audience.
Really, really challenging. Watch and listen it when I was
in mid form series and as a audio podcast.
That one for me is incredibly powerful because it's doing a
job which really represents to me why true crime is important
as a genre. It's not just about
entertainment, which is obviously what the TV industry
is kind of like as heart from a base perspective is what it's
all about. Unbreakable does the value
proposition as well and really kind of demonstrates why we
should be doing things like true crime and why we should be
commissioning and producing in this space to really make sure
that the contributors that we got in on that series can really
kind of make sure they're sharing their sharing their
stories. I mean, in there we had a female
genital mutilation survivor talking about their experiences
and their roads to recovery afterwards.
We had a survivor of, of, of domestic abuse, survivor of, of
gangland violence. Real kind of like hard hitting,
challenging conversations. And and that kind of feeds and
you were talking about your, your approach to true crime.
It's about victim centric Victim Support kind of stories, isn't
it? For sure.
I mean as a as a brand linear space digital focus, we are very
victim centric. We're very sensitive in our
approach. We always get incredibly
rewarding feedback from the contributors and the people that
we work with, the production companies we work with about how
we demonstrate and represent our stories.
And that is kind of fundamental and at the heart of our brand
and how we want to kind of position ourselves across all
frontiers that we kind of go into.
And that is exactly the same in the digital space as well.
What we have as an opportunity within the social media space is
a community focused opportunity where we can think about like
what are TikTok creators, podcasters doing in from a
community perspective? And that is, you know, tonally,
thematically challenging, you know, norms of like how you can
be funny alongside talking about some really kind of sensitive
and challenging cases, how you can kind of be light hearted,
have different styles of conversations.
For us, that's a really interesting opportunity and a
really interesting challenge in terms of how we can kind of go
into some of those kind of conversations and create some
productions and commissions that sit within that space.
For us, what we don't want to be doing is creating stuff that
goes too far, pushes too far beyond the borders.
But what we want to do is really kind of test the areas and the
Venn diagram of what traditional true crime looks like from ATV
broadcaster, but stays true to our kind of principles.
So so outside history and true crime, are there any other sweet
spots, particularly genres you're interested in?
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Well, I mean, they are our sweet spots.
They are our genres. I would say true crime is a
little bit harder to kind of get beyond in terms of a, in terms
of a genre because it is we are essentially a little bit more
kind of traditional in terms of our mindset.
Although the approach and the storytelling approach can be a
little bit more kind of thematically different to our
kind of standard approach in linear.
I think history is the one that we can be a little more playful
with because essentially every story has an element of history
has the past in like ingrained within it.
And I think for us, it's much more interesting to kind of look
at how we can tell interesting historical stories or stories
about the past in a very different way than we maybe
normally would do on a say a more mainstream history
broadcaster on mainstream History Channel.
And so for us that might be thinking about how like a comedy
and broadcaster or channel would do do it, or looking at like
shiny floor or panel show formats, or it might be or
investigative documentary style approaches or reality
approaches. And so for us, it's kind of
really testing the the boundaries from a genre
perspective, how you can tell historical stories.
That to me is really, really interesting because it could be
so much more playful. Brilliant.
Sam. Final question, in terms of how
a producer approaches you, what what do you want them to do when
they come to you? I want them to come with very
top line. I don't want like loads of, you
know, reams of documentation. I don't want like, you know,
multi page treatments. I don't want anyone to feel like
they're wasting their time. If you know, we get to a quick
no, I really want like, you know, straight to the kind of
the core of the idea. Could be a paragraph, could be
A1 pager. I want the hook first.
But that's to me is the kind of core principle we've got to
start with that it's not a contract that we're signing on
that we don't need to deliver, that we've got to read room for
surprise when we get to production and that kind of
thing. But for me, it's really about
that hook, like how are we going to be doing something that's
like new, interesting, innovative from a formal
perspective, going to be new and interesting in terms of the
talent that we work with and how we develop new talent.
But it's going to start with that hook.
Like, what is that kind of new and interesting kind of rooting
for us? Brilliant.
Sam Pearson, lovely to speak to you and thanks for coming to the
event. Lovely.
To speak to you guys. I'm here with Amy Parker
Williams from MTV. Amy, lovely to meet you.
Can you tell us a little bit about what you do at MTV?
Yes. So I am the director of
commissioning. So I guess it's my job to curate
and create compelling original content and build fantastic
experiences across all of our social platforms.
I also manage our in house production team made-up made-up
of talented super, super talented producers, editors,
production staff and some of our originals over the last couple
of years have been made by them. Brilliant.
So, so colour the story for us a little bit.
Tell us, tell us what kind of stuff you've commissioned.
Yes. So a couple of things.
MTV Faces, which is our mental health podcast series, which
tackles timely, topical taboo issues.
The first series we explored grief with Ashley Kane.
Second series which came out last year was on ADHD with
Jordan Stevens as the host and we've got a new one coming out
fairly soon. Brilliant.
So, so expanded a little bit for us.
You did a really good job in the session of telling us what
you're looking for. What what?
What is your sweet spot? Sweet spot is Brant Helen at the
helm of societal issues. So what, you know, important
conversations need to be discussed that aren't being
discussed enough in the mainstream media.
That's what we want to do. And how do you merge that with
Paramount's iconic IP? So if you had to give a little
bit of guidance to producers about how to approach you, the
way to get to you, what would you suggest?
Drop me a line and bring me on at the earliest stage, I would
say, just to make sure that it has MTV and Comedy Central in
mind from Inception. I'm here with Ben Doyle, AKA
Rubber Duck, and you've just finished the session talking
about your experiences in the business.
Tell us a little bit about the themes, the key themes that you
were talking about. Yeah, so after by Studios I
found it with a YouTuber. So all of my work I've done over
the last decade has featured talent in some way, shape or
form. And so it's just a conversation
really about how that completely changes the dynamic of how you
approach creative because you have to write the creative with
the talent in mind. It's not come up with the idea,
drop some talent in, it has to be come up with an idea around
the talent. So the conversation really was
about how do we approach that? How do we write ideas?
How do we make our shoots perfect for what the talent are
used to receiving and make content that sits really well on
the platform and doesn't feel like coming onto a platform that
we don't belong on? Do you do you think sometimes
traditional producers make a mistake of trying to impose
ideas on the talent rather than letting the talent flow a little
bit? I think that I think, I think
that basically the, the model has never changed on YouTube
really since day one. We're just having to go around
it. It's always been about someone
having some fun and that being recorded and if feeling too
structured suffocates it. And that's always been the truth
since back in the day. Like the beauty of YouTube is
that it has to be free flow and it has to be whatever's going on
ideas reacting to it constantly. And that's why the brain of a
YouTube is mad because they are constantly just reacting to
what's going on in front of them.
And I think the job of a traditional broadcast to come
into the space is to be like, how do we make that scenario
possible? How do we make it so that it's
not? Here's an auto queue and a
script, but here's the beats, here's what we're trying to hit,
here's what we're trying to get across and be yourself because
ultimately, that's what the audience are buying into.
After Party has been around probably around 10 years, but
you've had a particularly good two or three years.
You've really kind of grown in stature and and and recognition.
Tell us about what you've been doing recently as a studio to
push yourselves forward. Yeah, I think that we've been
going, We've been going since 2016.
And I think that is interesting seeing the industry grow up
through that time. Like in the early days that we
were going into meetings, people didn't really understand this
space. And I think so we've grown with
everyone and I think that the industry is has turned its
attention onto the space that we're in.
For us, the focus is always how do we make the best content that
the audience want to watch? Like that is the thing that goes
through our mind has always been that is how do we make something
that the platform's going to receive well, the audience is
going to receive well and keep iterating.
I think it's fine to make a mistake.
Go and make something can be like, oh, that episode didn't do
as well as the last one. The beauty of digital is that
you can go and change it. We can go and take a sudden
right turn and something can be like, let's bring in some new
talent, let's change the format slightly.
And so I guess I've just seen the industry accept it more and
more money's come into that part of the, the world and therefore
better and bigger stuff is getting made and people are more
focused on it. It was not an afterthought
anymore. It's not like let's make this TV
show and then make some support and whatever the social team,
it's very much like, how do we make something that is serving
this audience where they are and with what they want to receive?
Because the audience are hungry for content, like they're,
they're watching this stuff for hours and hours and hours.
So it would be criminal to like miss the opportunity of not
feeding that desire from from them.
Yeah. I think one of the key themes of
today's event, this kind of idea of how to make money in digital
is of people who've perhaps been working at massive TV budgets or
bigger TV budgets, working at how to be cost effective and
work in this world. If you had to kind of give some
advice on how you still create premium content, compelling
content at a different budget level and be successful, what
would you say to people? I say that the if you want to
make premium content but not completely missed the mark on it
is that you have to think about what the audience are looking
for, which is to be entertained and not make crazy set designs
that they don't care about. They don't want to see what we
see on Saturday night TV level sets because they are, this is
structured, this is fabricated. So it's playing within that.
It's being like, OK, I don't need to do a crazy set design.
I actually need to focus more on my money and time and effort on
these certain things that are about the research upfront and
making sure that the episode is great or that interview series
is great or that the entertainment value is there and
that we're understanding. You'll get so much more value
out of understanding the law around it and the memes and the
culture. That's where the value is.
They don't care about whether it's shot on a big shiny floor
studio or crazy cinematic production.
They care about am I watching something that feels like, like
that person is on the screen has made it or been a part of it.
And so I think when it comes to budgets, like we've never, we've
never seen those TV budgets, right?
We've never been dealing in the millions.
It's always hundreds of thousands.
And so it's about looking at what we've got and being like,
let's not shoot for Saturday night TV, shiny floor and
completely miss it. And also we're not, we're
missing the UGC side. We're kind of neither is it.
You need to find the sweet spot and then become known for it and
just double down and be like, this is our style and this is
and keep doing the same thing. I think audiences are super
sensitive as well to complete change.
So if you've got a channel that one minute is putting out super
glossy stuff and then suddenly goes like really homemade that
and then back to glossy, that's confusing for the audience.
I think you need to pick This is the world we're in and run.
With it final question. So, so if you are able to talk
about it, what are you working on right now?
What's your day? What's happening for your
day-to-day right now? So exciting projects right now,
we're in the middle of Season 2 of Sky Sports scenes, a series
to do for them. And we're talking to lots of
different commissioners and brands about brand entertainment
stuff. Like lots of the work is
definitely going in that direction.
Lots of people being like, how do we go and interpret our brand
or our platform in a different way and space and use talent to
make content that's going to cut through with the audience.
And so lots of the projects are kind of it more in that space.
They're not tons that I can talk about.
Well, my PR isn't here, so I don't know.
But yeah, I think like for me, the most exciting thing is that
I'm seeing lots more appetite for like this type of content
that the audience really want to see.
I think for years I would get briefs in and be like, like,
they don't, no one wants that. And then it'd be like trying to
turn that around. But now I'm seeing lots of
briefs. So I'm like, the audience do
want that. That's that's catering into it.
So I think that's the encouraging thing.
I'm seeing more and more stuff that I think the audience are
going to love. Ben Doyle, After Party Studios,
thanks for your time. Thank you very much.
You've been listening to highlights from How to Make
Money in Digital recorded live in London in 2025, and if what
you've heard here resonates, the good news is we're doing it all
again. How to Make Money in Digital
returns on April 21st at 30 Houston Square in London,
bringing together producers, platforms, studios, creators,
and people from right across the digital first spectrum for a
full day focused on the practical realities of building
and monetizing digital first businesses.
This isn't about theory or hype. It's about what's working right
now, what isn't, and how production companies can adapt
their models for a market that's moving fast.
Tickets and full details are available now at how to dot
telecast.com. That's how to dot telecast.com
for now. Thanks for listening to
Telecast. We'll see you next week and stay
safe.