This year’s RTS Convention, held in Cambridge in September, brought digital viewing squarely into the mainstream discussion, with YouTube at its heart. The speakers were largely high level executives, but what does the momentum towards YouTube mean for producers here in the UK? Pippa Considine reports
This year’s RTS Cambridge Convention was entitled Where do we Grow from Here? Digital distribution – and YouTube in particular – were very much in view.
In July, Ofcom’s Annual Media Nations Report showed YouTube overtaking ITV to become the second most-watched service in UK homes, behind only the BBC.
At Cambridge, UK culture secretary, Lisa Nandy, said the government was prepared to back Ofcom calls for YouTube to give UK PSBs more prominence. YouTube’s manager for UK & Ireland, Alison Lomax, took to the stage, not to respond to Ofcom and the secretary of state, but in conversation with the manager of England football’s women’s team, Sarina Wiegman.
International TV executives told the RTS audience about how they saw monetisation of IP working in a world where the audiences are increasingly coming via social media.
content questions
Kevin Mayer is co-ceo of Candle Media, which owns UK-based producer Moonbug, the makers of 3D animated pre-school property CoComelon which has over 200m subscribers across YouTube channels. Unsurprising then that Mayer talked about social media as a first stop to “find brands, stories and personalities and extend that into traditional media.”
But social media distribution is risky. While most platforms don’t pay creators, YouTube does. But a “tweak of the algorithm,” said Mayer, can move viewing numbers from 12 to nine billion. Other “monetisation mechanisms,” he said, are needed.
YouTube is the most watched broadcaster or service for children and for 16–34-year-olds, where it accounts for 22% of video viewing, according to Ofcom. And while the platform has grown up on short form, half of its top-trending videos now more closely resemble traditional TV, including long-form interviews and game shows, according to Enders Analysis.
Four in ten of YouTube users watch traditional long form TV and film on the platform, says other research, this time from Ampere. Globally, 38% of users are watching TV and film content; in Western Europe, it’s more like 28%.
Anyone in the business of making or distributing content can no longer look away. YouTube has been proven to build brands and to work as a signpost to owned-and-operated channels. One big question is can traditional TV producers make money on these platforms and still produce at the level of quality where they feel comfortable?
YouTube shares ad revenue with creators who are part of its partner programme – typically splitting the revenue 55% for YouTube, 45% for the creator. Unless you have a global hit on your hands, this doesn’t fund high quality production budgets.
Creators also get a slice of the subscription fees from YouTube Premium members who watch their content. Creators can offer their own exclusive content through YouTube’s Channel Memberships feature for a recurring monthly fee.
Pippa Considine
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