Last week's Social TV Forum in London - where Futurescape's Colin Donald spoke in the panel discussion What impact will social TV have on the media industry as a whole? - was full of fascinating facts and insights into Web TV and related areas.
Here are some key points from the conference.
Futurescape co-founder Colin Donald:
Explained the WeVision model, Futurescape's paradigm for how producers can engage and co-create Web shows with online communities using social media principles.
Two case studies from the WeVision report of real-time formats, in which musicians such as Frankmusik go on tour, but with fans arranging transportation and accommodation and suggesting locations for guerilla gigs.
Pasa Mustafa, Head of Digital Studios, Endemol:
Endemol's Married on MySpace was big hit in USA and will have season two in 2010.
Nigel Wally, MD media strategy consultancy Decipher:
YouTube on laptop and TV are very different
On laptop, it's about searching for video.
On main TV set, it's for sharing clips, with the family all watching together.
Consumers now think of three kinds of video:
1) Big screen TV - movies, football
2) Ordinary TV - Eastenders
3) YouTube level
Philip Bourchier O'Ferrall, SVP, Digital Media for MTV Networks UK & Ireland:
Answering question How do you measure the value of engagement?
When you see people engaging with a show, the value for the broadcaster is being able to move that customer [NB customer, not viewer] to the next show that you commission or buy that is in the same genre. The value is for CRM.
Triona Campbell, CEO, Campbell Ryan Productions, on Sofia’s Diary:
Sufei in China has to be at university, because in Chinese culture you don't argue with your parents and can't have a boyfriend while still living at home.
Sofia now in Portugal for six years, so show is moving on to Sofia's younger sister Marianne, as Sofia now too old for 13-year-old viewers.
TV is important as it gives a show credibility with the parents, who are the ones buying the merchandise.
Brands give more creative freedom than commissions from broadcasters, as they only care about how their brand is presented, leave it up to you to make the show.
Start developing your show online and you can get fast feedback from the audience on casting, character development and storylines, instead of the long commissioning process with a broadcaster.
Sofia is like Santa - we all know she's fictional, but we choose to believe.
Product placement pays for the show to be made, but the real revenue comes from the merchandise.
Zad Rogers, RDF Media:
Made Message From Earth and b-box for Bebo.
Message did not make any money at all - didn't get sponsor.
b-box however is supported by multiple sponsors.
It was pre-sold to brands [ie to cover its production costs] and then picked up even more brands during its run [ie even more profit].
Brand integration: 5m views of b-box and not one complaint about the products. In fact, viewers appreciated Doritos for paying for the show to have a special edition in Las Vegas.
He's leaving RDF to set up his own branded entertainment production company, Atomized
Mike Bennet, Creative Director, Oil:
Has travel show based around wine in development.
Kate Bradshaw, Head of Online Commissioning, ITV:
Will be making lot of two-screen projects in next 18 months [eg people watching X-Factor and simultaneously chatting about it on their laptop via the ITV X-Factor site].
Adrian Swift, Chief Creative Officer, etv Media Group:
They made a music show for mobile operator 3 for three years.
Featured artists had 15 - 30 per cent rise in their music download sales.
Triona and Kate both mentioned stay at home mums as significant demographic.
Triona and Philip both noted young teen girls as significant demographic, with Stardoll and Habbo Hotel as their social networking sites [Stardoll is funding comedy Chelsey: OMG for season 2].
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