{"id":15485,"date":"2025-12-01T09:46:00","date_gmt":"2025-12-01T14:46:00","guid":{"rendered":"https:\/\/worldscreen.com\/tvformats\/pascal-dalton-shares-how-shimmer-media-optimizes-distribution-monetization-brand-building-more\/"},"modified":"2025-12-09T09:53:07","modified_gmt":"2025-12-09T14:53:07","slug":"pascal-dalton-shares-how-shimmer-media-optimizes-distribution-monetization-brand-building-more","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/pascal-dalton-shares-how-shimmer-media-optimizes-distribution-monetization-brand-building-more\/","title":{"rendered":"Shimmer Media\u2019s Pascal Dalton on Optimizing Distribution & Monetization"},"content":{"rendered":"

After working for more than two decades with major entertainment companies, including ITV Studios and previously Endemol Shine Group (now Banijay), Pascal Dalton launched his own company, Shimmer Media, last year. Using the considerable experience he gained in the formats business, he is now helping content businesses optimize distribution, monetization, brand-building and much more. Despite the numerous challenges facing the content business, Dalton tells TV Formats<\/em>\u00a0that he sees numerous opportunities ahead.<\/p>\n

TV FORMATS:<\/strong>\u00a0How is Shimmer Media helping owners of creative businesses?
\nDALTON:<\/strong>\u00a0Shimmer Media is a boutique content consultancy and distribution firm dedicated to supporting content businesses, from established studios to independent producers. Our goal is to lend a helping hand to owners so they can ultimately focus on producing their shows. We step in to achieve sustainable growth and develop a commercial strategy for their intellectual property (IP).<\/p>\n

We help creative businesses in three main areas. First, strategic and commercial business elevation. We provide a deep dive into a client\u2019s content offering to commercialize their IP beyond existing production or distribution deals. This could involve maximizing IP rights for merchandise and licensing, developing effective social media strategies (such as YouTube or TikTok, including content management system optimization) or managing content windows more effectively. We ask: How can we help grow your business?<\/p>\n

The second area is commercial consulting and market insight. We evaluate a producer\u2019s catalog to identify existing content that international commissioners are interested in buying, turning dormant IP into new revenue streams.<\/p>\n

And the third is content acquisition and distribution. We actively acquire and distribute both scripted and non-scripted formats internationally, opening up new global markets for our clients\u2019 content.<\/p>\n

In essence, Shimmer Media exists to take the complex burden of commercialization and distribution off the creator\u2019s shoulders. We offer a proven strategic approach to ensure their content is positioned correctly, their rights are maximized and their business achieves sustainable growth globally.<\/p>\n

WS:<\/strong>\u00a0What is your view of the formats market? Are buyers risk-averse? What kind of genres and ideas tend to cut through?
\nDALTON:<\/strong>\u00a0To address the question of risk, we\u2019ve never been in a time when risk wasn\u2019t a factor in content decisions. The reality is that the\u00a0nature<\/em>\u00a0of the risk is what has changed. Commissioners are under immense pressure due to several market complexities.<\/p>\n

The first challenge is dealing with the fragmentation of viewing. There are major shifts in viewing habits, with increased viewership on big streamers and platforms like YouTube, alongside continued, strong demand on linear TV, especially in some European markets. The demise of cable and pay TV elsewhere adds another layer of complexity, but it\u2019s very case-by-case, driven by the complexity of both local and global market strategies and any overlaps therewith.<\/p>\n

This leads to competition for eyeballs. Content decisions are fiercely competitive in order to attract audience attention, in a world where discovery of content and content marketing plays such a pivotal role, not just against other traditional players and global streamers, but also against powerful digital native platforms like TikTok, Instagram, Twitch, Roblox and Snapchat, etc. It\u2019s a battle to predict where the audience is, keep them engaged once they\u2019re committed and then offer them reasons to stay. This often occurs on multiple platforms and screens, simultaneously.<\/p>\n

Caution certainly stems from the current global economic situation. The accelerating consolidation\u2014the bigger deals across studios and broadcasters\u2014can naturally put a temporary pause on major commissioning decisions. This flux, combined with global geopolitical situations, contributes to the overall difficulty and, perhaps, to increased production costs.
\nI wouldn\u2019t necessarily label buyers as simply \u201crisk-averse\u201d but rather \u201ccautionary\u201d and highly focused on de-risking their investments. We see two primary strategies cutting through.<\/p>\n

The first is the power of proven IP. The strength of proven IP is undeniable. We see platforms like Netflix doubling down on international versions of hits like\u00a0Love Is Blind<\/em>, and the return or recommissioning of established stalwarts on linear screens. This strategy is effective because it immediately minimizes marketing spend and audience acquisition risk. The audience is already familiar and willing to tune in\u2014and it\u2019s the same with shows like\u00a0Inside<\/em>\u00a0from the Sidemen.<\/p>\n

Secondly, what gives me great comfort and encouragement is the success of genuinely new IP that is cutting through and traveling internationally. A fantastic recent example is\u00a0Virgin Island<\/em>\u2014produced by Double Act, distributed by Passion and aired on Channel 4\u2014which has already secured a second series. Seeing these new shows travel validates the appetite for fresh, inventive content.<\/p>\n

The future success of the format market hinges on finding new mechanisms, perhaps involving more deals to appropriately share the risk, which will secure and support the next generation of inventive content that will truly attract audiences.<\/p>\n

TV FORMATS:<\/strong>\u00a0Are there still ways to get people interested in paper formats?
\nDALTON:<\/strong>\u00a0Absolutely. While there is an understandable gravitational pull toward established, proven IP, there is constant demand\u2014and opportunity\u2014for excellent new formats, even those starting as \u201cpaper formats\u201d or original concepts.<\/p>\n

To demonstrate this, Shimmer Media is actively championing new ideas. We\u2019ve partnered with The Concept Collective in the U.S., led by Aaron Wells, who has a strong track record developing projects for companies. He\u2019s previously developed projects with Cineflix and Sony Pictures Television, as well as worked on\u00a0Let\u2019s Make A Deal<\/em>\u00a0for Fremantle and CBS.<\/p>\n

Shimmer Media has co-developed a new studio-based dating show with The Concept Collective, for which I also have distribution rights.\u00a0Don\u2019t Turn Around<\/em>\u00a0is already generating traction, taking the dating genre back to the playfulness of the studio while retaining the jeopardy of a dating reality format. It\u2019s been inspired by the Greek myth of Orpheus and Eurydice, where everything is at stake if you simply turn around, or don\u2019t! We are delighted that it\u2019s been selected as one of the eight finalists from 70 submissions for the Content London Global Entertainment Format Pitch, where I will personally pitch the show on December 2 at 2 p.m. I am incredibly proud to be working with Aaron on this.<\/p>\n

The challenge lies in the inherent paradox of the market: commissioners need new content, but it\u2019s much easier for them to de-risk a commission by acquiring a format that has already traveled to 15 countries, versus betting on a completely new idea.<\/p>\n

However, the industry is finding ways to support these incredibly good new ideas. One is risk sharing. We are seeing more creative deals in which the risk is shared more equally between the producer and the broadcaster. The commissioning component has become more complex, but this partnership approach helps inventive new formats get a foothold.<\/p>\n

The other is proof of concept success.\u00a0The Box<\/em>, from Seafood TV in Norway, is a fantastic example of a format in which the producer and broadcaster initially shared the risk, and it has subsequently sold to multiple territories internationally. There are a few others that were more recently launched at MIPCOM this year, so this is certainly a strong trend.<\/p>\n

TV FORMATS:\u00a0<\/strong>As you look at the market, with all its challenges, what opportunities are you seeing for your company?
\nDALTON:<\/strong>\u00a0The primary opportunity for Shimmer Media lies in addressing the industry\u2019s heightened need for de-risking and specialized expertise in a complex global market.<\/p>\n

We see three key areas where we can provide essential value. First, is strategic commercial outsourcing. For producers whose core competency is making exceptional television, film, or digital content, the commercialization and rights management can be a significant headache. Our opportunity is to act as a strategic advisor or provide a commercial polish. We step in to take the burden of commercialization away, allowing them to focus entirely on content quality and delivery. This means creating better deals and generating more opportunities for their IP globally.<\/p>\n

Then we assist with bridging digital-to-traditional. We see a major opportunity to support digital-native content creators\u2014those excelling on platforms like YouTube or others\u2014who need help translating their success into global deals with linear channels or streamers. We specialize in structuring those crucial agreements to maximize their viewership and revenue potential outside of their primary platform.<\/p>\n

Third we look at global partnership facilitation. Given the challenges, there is a clear and persistent need for more global partnerships. With our extensive network of industry individuals around the globe, Shimmer Media is perfectly positioned to connect the dots for companies. Whether it\u2019s finding co-production partners, securing international distribution, or identifying strategic alliances, we facilitate the relationships needed for growth.<\/p>\n

TV FORMATS:<\/strong>\u00a0What is your advice for getting a format market-ready?
\nDALTON:<\/strong>\u00a0Getting a format market-ready is absolutely critical to success in the international market. Assuming you have a show commissioned in its host country and are ready to take it global, here are the three essential components:
\nWe start with the killer sizzle reel (or promo): This is perhaps the most important single piece of collateral. You need a great promo that effectively sells the core concept and emotion of the show. Internationally, this reel will be sent around to potential buyers, and you won’t always have the opportunity to be there in person to pitch. The promo must be able to sell the show for you.<\/p>\n

Second, is a comprehensive, data-rich deck: A great sales deck is non-negotiable. It must be professional, visually appealing, and, most importantly, backed by data. Essential components include: Why Now? Your show needs to address this question front and centre. Why are people going to care to stay tuned? What\u2019s happening in the world today that makes this a must-see opportunity?<\/p>\n

Then there are the performance metrics, which include detailed ratings and audience data (which can come from YouTube!). Also to be considered are territory sales: How many markets has the format sold into already? Social media data: proof of digital engagement and audience buzz. And, last but not least, anecdotes: crucially, you must capture the \u201cWOW\u201d moments\u2014those unforgettable, \u201cHoly cow, that was amazing!\u201d moments that highlight the show’s emotional impact and viral potential.<\/p>\n

And then there is the strategic marketing investment: Depending on your budget, it is vital to set aside a marketing budget to promote the format effectively at key industry events like MIPCOM. Visibility at these major markets is essential to connect with international commissioners and create buzz around the new IP.<\/p>\n

TV FORMATS:<\/strong>\u00a0What support do you offer in treating formats as brands?\u00a0DALTON:<\/strong>\u00a0We firmly believe that a successful format must be treated and developed as a multi-faceted brand, not just a single TV series. I recently completed consultancy work focused entirely on translating a client’s format into ancillary and digital revenue opportunities, but you must have a coherent, well-thought-out brand identity to do so.
\nThe support Shimmer Media offers is comprehensive and focused on establishing and monetizing the brand’s DNA. This includes defining the brand identity: From the very beginning, you need a clear vision of what your show is and what it isn\u2019t. We help define that core brand identity, ensuring it’s coherent across all platforms.
\nA cohesive style guide is essential: A critical piece of the puzzle is creating a defined style guide. This visual blueprint ensures consistency across the format promo, the sales deck, social media, and all outward-facing assets. We work with graphic designers to establish this professional guide, which is essential for engaging with potential partners.
\nEqually important is strategic ancillary monetization. Once the brand is defined, we move to commercial strategy. We evaluate the best path for maximum return by asking critical questions: Does the IP lend itself to merchandising and licensing deals? Should we prioritize a publishing deal (e.g., a book)? Is the immediate focus better placed on consistent, branded content for social media and YouTube? Are there opportunities in the live entertainment space or consumer products?
\nUltimately, we help clients build a robust, cohesive brand identity that maximizes IP value, builds super fans, and opens up multiple revenue streams beyond linear television
\nTV FORMATS:<\/strong>\u00a0People are watching multiple screens at once. Can using multiple screens help get the word out about a new show?
\nDALTON:<\/strong>\u00a0Yes, absolutely, utilizing the multi-screen environment can be a highly effective way to amplify a new show. However, it requires a very strategic and considered approach.
\nThe core danger is dilution\u2014using too many platforms without a clear purpose can scatter your brand. You need to be very clear about which platform you choose and exactly how you intend to use it, because the DNA of each platform is drastically different.
\nWhen done correctly, the multi-screen approach serves a dual function. It can be a promotional and complementary tool. Used effectively, the second screen can boost awareness. Our experience shows that strategic social media engagement surrounding a broadcast generally does not cannibalize the main audience; in fact, the figures have been supportive, showing a complementary effect. Beyond promotion, platforms can be integrated into the show\u2019s commercial strategy. For example, features like the TikTok Shop offer a very interesting and direct-to-consumer approach, allowing a brand to monetize instantly during or around a show’s broadcast\u2014provided, of course, that you’ve successfully built an audience on that specific channel first.<\/p>\n

In short, the multi-screen environment is a powerful way to engage and promote, but success hinges on a disciplined, platform-specific strategy.<\/p>\n","protected":false},"excerpt":{"rendered":"

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