Claire McArdle, vp of multi-platform at Comedy Central International, discussed the company’s strategy for moving linear content to platforms at the Digiday Video Summit earlier this month in Amsterdam.
“Our audience is watching things on linear, but they are on platforms,” said McArdle. “As a brand, we need to be talking to those audiences, providing content and being relevant on the platforms they are on. We make content that is specifically for the platform on which it sits. We don’t repurpose it. We make a version for the platform. Our mantra is: what the audience wants and what the platform rewards for that in terms of behavior.”
Edited highlights from the session appear below:
Don’t go to a platform without an audience
“It’s always a concern how platforms can move out of favor with audiences, or an algorithm changes, and suddenly, you’re not in the same place. We monitor that closely. We respond; we move quickly. We factor that in when we commission content. We have a good spread of platforms we’re on. You don’t have the capacity to serve on every platform. If you can’t capture the right audience, then there is no point of being there.”
“The majority of the content is being produced in the U.K., but series are being produced out of Australia, the Middle East, the local team. We have learned that we can take content from other territories and languages, and subtitle it. It’s starting to be consumed by English-language markets. It’s exciting given the amount of content we make in our territories like [the Latin American] market.”
Moving production in-house
“We moved everything [production] in-house in the last eight to nine months, largely because it’s difficult to get external producers to bear in mind the international aspect of it. We don’t have huge budgets, and we need to make sure everything goes on screen. We expand and contract internally. This means we can move more quickly.”
Future of TV Briefing: Streaming ad sellers need supplementary inventory sources
This week's Future of TV Briefing looks at the supply-and-demand dynamics in the streaming ad market.
Why entertainment expert Eunice Shin is watching streamers’ subscriber churn rates
Having consulted for companies including Disney, Warner Bros. and NBCUniversal, Shin knows the ins and out of the today’s entertainment business.
How YouTube is calculating creators’ ad-revenue shares for Shorts
Calculating how YouTube Shorts ad revenue will be split is more like doing taxes than basic arithmetic, as this video explainer breaks down.
SponsoredHow ad tech is tackling waste by optimizing supply chains
Sponsored by Bidtellect The programmatic and digital advertising industry is well aware of the inefficiencies in buying and selling — from auction duplication and volume bias to multi-integrations and reselling — but how did it get this out of control? How can we fix it? A redundant, multiple-step process to ad delivery has become the norm, […]
Disney plans to extend Hulu’s ad targeting options to Disney+’s ad tier
Disney ad boss Rita Ferro said the company expects to reach its goal of automating 50% of its ad sales this year.
Future of TV Briefing: TikTok’s revenue-sharing terms are turning off some creators
This week’s Future of TV Briefing looks at the language inside TikTok's revenue-sharing terms that has creators concerned.