here<\/a>.<\/strong><\/p>\n\u201cOne of the things that is so exciting about YouTube is it\u2019s the most data-rich environment we\u2019ve ever had and the richest with engagement as well,\u201d said Williams. \u201cSometimes I call it the Galapagos Islands of media because it\u2019s like this incredibly fiercely competitive environment where you see all these new forms of life evolve. We\u2019ve learned kids like watching other kids do stuff, including hanging out with their parents.\u201d<\/p>\n
Robinson concurred that the \u201crichness of the data is extraordinary.\u201d He also noted that the platform has proven that you don\u2019t necessarily always need big budgets and \u00a0\u00a0 high production values to forge a connection with kids. \u201cIf you can engage kids, it\u2019s not about the production cost; it\u2019s not about complexity sometimes.\u201d<\/p>\n
\u201cWe\u2019ve also noted the shift of devices,\u201d Ferrero said. \u201cBefore, there was much more consumption on mobile. In the last few years, TV, especially the connected-TV experience, has gained share. The device shift is really important. And the shared experience between parents and the kids is also a trend we\u2019ve noted on the platform.\u201d<\/p>\n
Ferrero also referenced the importance of YouTube metrics. \u201cTo a certain extent, we believe that views are a little bit less important nowadays because it depends as well on the duration of the video. You can buy some views. We like to focus more on metrics and audience retention when we look at KPIs on the platform.\u201d<\/p>\n
YouTube \u201cis essential to your brand plan,\u201d said Gorman, \u201cwhether it’s native to AVOD or a classic brand. For anyone who wants brand success and stickiness, YouTube is, if not front and center, certainly crucial to have a great strategy and plan and execution. Everyone recognizes that you have to work together, at least at the moment, to make things work and break through in a noisy, crowded environment.\u201d<\/p>\n
Kartoon Channel! is available on multiple platforms, including traditional pay TV, AVOD\/FAST and SVOD, \u201cso the windowing of that content gets more and more complex,\u201d Robinson explained. \u201cI think we\u2019re moving away from exclusive, but some customers still say it\u2019s on YouTube, and we don\u2019t want to pay for it. So we have to try to ensure that we deliver value to our paying customers, but at the same time, we want to build the brand. That\u2019s about careful windowing, creating different content and using shorts. But ultimately, if you want to build a brand, you need to have a YouTube strategy. There\u2019s no question about that.\u201d<\/p>\n
\u201cIt\u2019s certainly not a foregone conclusion that success on YouTube is going to equate to a successful toy line, for example,\u201d Williams added. \u201cWe\u2019ve shown it certainly can, but it\u2019s not a rule.\u201d<\/p>\n
However, he continued, \u201cSuccess with content on YouTube does translate into success on other streaming platforms. We have built a great business in harvesting that content from YouTube. We have to do a lot to optimize, repackage it at scale and make it great for these premium platforms.\u201d<\/p>\n
Gorman noted, \u201cYouTube is in some ways the most vetted, revered platform of success. It gives everyone the comfort level of a presold property, which is great in this environment. It doesn\u2019t have to be something that has sold 10,000 books or come from a deep IP vault.\u201d<\/p>\n
He continued, \u201cWe wouldn\u2019t do anything now\u2014new brand, old brand\u2014without having some original plan for YouTube content that is the same but different and works for that platform but also can cross-pollinate other things we\u2019re doing.\u201d<\/p>\n
Ferrero expressed a similar sentiment for eOne and Hasbro, noting, \u201cIt\u2019s essential as part of our brand-building strategies to gain awareness. Even more than monetization for us, it\u2019s awareness. It\u2019s making sure that we deliver newness to our shows and that we reinvent our brand so that it converts for the retailers as well. Our retailers and licensees are keen to understand the key metrics we deliver on the platform. We talk to them regularly about those as well. We have a trust relationship with the broadcasters, the streamers, to make sure that some of the content we post on YouTube will be a different value proposition.\u201d<\/p>\n
From Robinson\u2019s perspective, \u201cThe key to making a YouTube channel work is consistency, making sure you\u2019re refreshing, managing things properly. I think YouTube has reminded us of some of the essentials of really smart programming.\u201d<\/p>\n
Gorman agreed, stating, \u201cYouTube does give you that kind of old-school appointment viewing that can drive engagement and awareness in a consistent way. It bridges the gap from a timing perspective when 12 episodes have dropped, and you have to wait for the second season on an SVOD platform.\u201d<\/p>\n
YouTube viewing trends are also informing the development process, Williams said. \u201cIt promotes new discipline as we develop and produce shows. We think a lot about what the YouTube environment has told us over the years about what\u2019s effective. It\u2019s such a brutally competitive environment, so it just imposes a discipline on our craft that I think is just at a new level. You can\u2019t luxuriate in the expository phase of your story the way maybe you could 10 or 20 years ago. You\u2019ve got to get to it. Things that ring false and inauthentic raise red flags now. We say, \u2018Are kids going to like this? Is it as relatable as it should be?\u2019\u201d<\/p>\n
The data also informs creativity, Ferrero said. \u201cWe know the latest trends; we can spot different white spaces, what works, what\u2019s evergreen on the platform. It supports the creative process and limits your margin of error.\u201d<\/p>\n
Williams brought up the role of gameplay on YouTube. \u201cIf they\u2019re not playing video games, they still want to be in those worlds and be engaged with that aesthetic. We\u2019ve been developing a number of shows that integrate game engines, which also is a tremendously efficient platform for producing content at scale, and partnering with creators who have made big successes out of content based on video gameplay. A whole assortment of gaming worlds have just become these environments that kids want to spend time with.\u201d<\/p>\n
Kartoon Channel! is also \u201cleaning into gaming,\u201d Robinson said before discussing the crucial role of properly managing a YouTube channel. \u201cYou\u2019ve got to make sure you continue offering them new things. Be consistent and clear about the editorial you\u2019re sending, but also make sure you update it regularly. The absolute volume is not such a big issue, but there\u2019s got to be enough to ensure you don\u2019t go away because you\u2019ve seen everything.\u201d<\/p>\n
Ferrero agreed that consistency is critical. \u201cMake sure there\u2019s enough newness in the overall content because otherwise, it could be penalized by the algorithm. We need to make sure that there\u2019s a certain level of refresh. It depends, of course, on your age demo. If you target younger kids, maybe the newness is a bit less important. Our rule of thumb in terms of frequency of the uploads is at least three a week.\u201d<\/p>\n
Success on YouTube \u201ctakes a lot of time, a lot of experimentation, a lot of content,\u201d Williams explained. \u201cIn the kids\u2019 space, it\u2019s become more difficult recently from an economic standpoint. YouTube monetizes kids\u2019 content at a fraction of the rate it used to, and that adult content monetizes at because of the targeting limitations. When considering investments, especially in a new brand on YouTube, it needs to be approached with tremendous diligence and an expectation of a long runway and deep investments.\u201d<\/p>\n
\u201cWe don\u2019t invest just in YouTube for that reason,\u201d Robinson agreed. \u201cIt\u2019s very hard to make your money back. We try to get our content out to kids in as many different ways as we can and on as many different platforms. It\u2019s about managing that content smartly so you can get it everywhere.\u201d<\/p>\n
Robinson referenced the multiplatform success of CoComelon<\/em>. \u201cIt used to be, you\u2019ve got to have an exclusive show, and you lock it behind some paywall. It\u2019s probably not the right strategy. We would only monetize [content] on the basis of leveraging across all the different platforms and also wanting to drive licensing and merchandising. That\u2019s something that you probably do need to go beyond YouTube for. Licensees are still looking for free TV and pay TV and streaming platforms, as well as YouTube. To manage your risk, we like to try and publish as widely and as deeply as possible.\u201d<\/p>\nFerrero concurred, adding, \u201cThe multiplatform strategy is also key to us. YouTube, in terms of monetization, has taken a hit since the Made for Kids changes. It was essential to protect kids\u2019 privacy. The primary goal has always been to generate engagement with our brands on the platform. Monetization would be a secondary goal, so it\u2019s less of an impact. Although we\u2019ve noted these changes, it hasn\u2019t impacted our overall strategy on the platform.\u201d<\/p>\n
It\u2019s a similar approach at Cloudco, Gorman said. \u201cYou want to have this multiplatform strategy. You want it to be thoughtful. You want everything to work to help drive brand awareness. That\u2019s our default. It\u2019s not monetization. I think that would be a super tough business model.\u201d<\/p>\n
Williams said that pocket.watch has \u201cdifferent release strategies for different objectives. Certainly, we have a ubiquity release strategy that heavily leans into YouTube. If we\u2019re launching a toy line, for example, we will have content that\u2019s launching on Ryan\u2019s YouTube channel or Diana\u2019s YouTube channel, with their billions of views. But then it\u2019s also great to maybe package an exclusive special. We take content from YouTube and then create a 22- or 44-minute special, where 90 percent of the special is just the repackaged content, we do like a little original stuff, and then we can bring it to a streamer exclusively. Now we have them as a big promotional partner, reaching those eyeballs off YouTube. That includes the licensing and merchandising folks and advertisers in a way that YouTube maybe doesn\u2019t reach as effectively. You have to look at a mix of platforms to achieve your particular goals. To move consumer products, you want to light them all up.\u201d<\/p>\n
At eOne, there\u2019s a My Little Pony<\/em> CGI series on Netflix and a 2D version on YouTube. \u201cThat was a way for Netflix to benefit from the YouTube audience and vice versa,\u201d Ferrero said. \u201cThat was a great example of a streamer like Netflix recognizing the value of using the content or creating rather similar content, but a little bit different and then benefiting from the YouTube audience.\u201d<\/p>\nCarugati then asked the panelists to discuss where AVOD and FAST sit in their overall windowing strategies.<\/p>\n
\u201cWe love the FAST channels and streamers,\u201d Williams said. \u201cWe have two linear FAST channels that are ubiquitous across the ecosystem. We also have an SVOD channel, Ryan and Friends Plus, which is currently on Amazon Prime Channels, and we are expanding to other distribution outlets. When we look at those objectives, where can we drive maximum enterprise value? I was talking about that packaged special\u2013we might window that into our SVOD service first. Give it a 30-day exclusive window, promote it, use it to drive subscribers and then window it to one of the big FAST players. Roku is a great example. They put it at the top of their service on their home page for the holidays and drive enormous engagement in that phase of the window. Once it comes out of that window, maybe that\u2019s not till next year, but next year, we\u2019ve got that special again for FAST and more of a ubiquity strategy. Through that whole lifecycle, we\u2019re just generating tremendous amounts of value.\u201d<\/p>\n
Robinson said windowing strategies \u201cvary depending on the brand. If it\u2019s well-known, you can put it behind a paywall, behind our SVOD service. People are going to go there because they know the brand. If they don\u2019t know the brand, you probably want to window it first on a FAST or linear channel, build some awareness and then put it behind the paywall. Ultimately, you\u2019ve got to build awareness before trying to charge money for it. Unless you bundle it onto a pay service. What\u2019s nice about pay is that the platform pays you a fixed amount of money, and it\u2019s a channel so you can put your famous shows in there and your library shows, and they all do a job for you. If you\u2019re in an SVOD environment, you\u2019ve got to make sure that that title gets its share of voice. Otherwise, people aren\u2019t going to come to it. If you dump something in SVOD, you might be disappointed unless you\u2019ve done all the homework. So YouTube would be crucial to building awareness. But the model of what goes first varies from market to market.\u201d<\/p>\n
Regarding exclusivity for free and pay broadcasters and SVOD platforms, Ferrero has seen more openness to having content on YouTube. \u201cWe need to build trust with the broadcasters and SVOD clients to make sure that they benefit as well from these YouTube audiences. It can also be a great marketing tool for the audiences to discover that content and then have it packaged differently on TV or SVOD. As long as we are transparent with our partners, they can benefit from that. There\u2019s scale on YouTube, and everyone can benefit.\u201d<\/p>\n
\u201cThere\u2019s been an evolution,\u201d Williams said. \u201cThere was a time, even as soon as a couple of years ago, when the YouTube exploitation looked like baggage, and there was a reluctance, especially when they think about [the impact on] subscriber acquisition. We would get into some fairly big conversations about that. We\u2019d bring a lot of data to the table and insist that this was not the case. That\u2019s proven out. These platforms recognize the power of kids\u2019 retention. That said, I also see a new appetite for exclusives. I talked about these exclusive specials. We love the mantra \u2018come for the original, stay for the library.\u2019 That is also really resonating with buyers and programmers.\u201d<\/p>\n
It\u2019s been the same experience for Gorman. \u201cEveryone sees that there\u2019s some win-win, certainly on a promotional basis, and particularly when you\u2019re doing a lot of originals that are not being marketed, just released, and the algorithm takes over. It\u2019s certainly not remotely close to a free for all. It\u2019s got to be strategic, proactively articulated, laid out and vetted.\u201d<\/p>\n
pocket.watch has built a thriving business by using YouTube as a hub for discovering new talent. \u201cIt\u2019s like we have 40 producer stringers out there independently producing content for us,\u201d Williams said. \u201cIt\u2019s gotten a little bit more complicated with Made for Kids. It\u2019s changed the signal-to-noise ratio. It\u2019s changed some of the formulas we might look at, the frameworks to determine success. We always vet our creative partners extensively. We want to make sure there\u2019s alignment in values and aspirations. We try to equip them with guidance to make sure that they\u2019re producing in responsible ways. But I would also say it takes a unique expertise and company culture to effectively work with YouTube talent. We built a culture to do it.\u201d<\/p>\n
The session wrapped with a conversation about promoting discoverability on YouTube.<\/p>\n
\u201cThe distribution approach is really important,\u201d Ferrero said. \u201cThere\u2019s a test-and-learn approach. We use a combination of SEO and optimization. We work on clickability as well. We use paid media also to increase discoverability. We spend a lot of time in YouTube analytics, reviewing the retention graphs and analyzing when the retention starts to drop. This systematic approach, building consistency, helps promote discoverability on YouTube.\u201d<\/p>\n
Robinson agreed, adding, \u201cYou\u2019ve just got to make sure that throughout you\u2019ve got fantastic thumbnails, it\u2019s easy to find and attractive to look at and use the data. Optimize, optimize, optimize.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Strategies for harnessing the power of YouTube and other free video platforms in serving young viewers were debated at a TV Kids Festival panel featuring Entertainment One\u2019s Yannick Ferrero, pocket.watch\u2019s David B. Williams, Cloudco Entertainment\u2019s Sean Gorman and Kartoon Channel! Worldwide\u2019s Paul Robinson.<\/p>\n","protected":false},"author":290,"featured_media":24596,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[3936,7129,255,7248,3405,2567,4181,5723,7130,1207],"class_list":["post-24595","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-cloudco-entertainment","tag-david-b-williams","tag-entertainment-one","tag-kartoon-channel-worldwide","tag-paul-robinson","tag-pocket-watch","tag-sean-gorman","tag-tv-kids-festival","tag-yannick-ferrero","tag-youtube","pmpro-has-access"],"yoast_head":"\n
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