Grizzy & the Lemmings<\/em>. \u201cWe went from that to 2.5 million views per day in 2023. So, [YouTube\u2019s changing requirements] didn\u2019t have such an impact on us. Before that all happened, we had just signed a worldwide deal with Netflix, which was giving us more exposure. The first season was becoming a hit on Warner worldwide. So, all these fueled the YouTube channel subscriptions. We were not so much hit actually by this.\u201d<\/p>\nFor Redfern, YouTube has \u201cmoved from whatb used to be perceived as just a marketing platform to now being a platform in and of itself. You can create and launch brands on that platform. It\u2019s not that magic money tree that perhaps it was once considered, but the platform is so entrenched now in the lives of digital native kids. Its importance to people like us who work in that brand space has only increased. It\u2019s their default search engine. It\u2019s the thing that they go to when they have some downtime. It\u2019s the thing that is more or less always on [their devices] when they\u2019re in their hands. So, it\u2019s become ever more important in terms of a platform for brand owners.\u201d<\/p>\n
Janes referenced a Nielsen report showing that YouTube\u2019s new policies \u201cactually helped to leapfrog the streamer to number one for kids, with a 33 percent rise in viewership year-over-year for kids 2 to 11. Netflix is number two, with a falling 21 percent year-over-year viewership. That\u2019s just incredibly impactful for the story about how YouTube is doing for us. The revenues were definitely impacted. I think it\u2019s inspired creators to think about diversifying their portfolio.\u201d<\/p>\n
Wind Sun Sky sees YouTube as its \u201cprimary\u201d platform, Redfern noted. \u201cIt\u2019s gone from outlier to being a non-negotiable part of that flywheel. It\u2019s part of a bigger jigsaw puzzle as brand owners and brand builders. Even the streamers have woken up to that power, too. Netflix is using YouTube in a really interesting way in terms of bringing YouTube viewers through. They\u2019re dropping premiere episodes on YouTube. Your content needs to be where kids are hanging out. YouTube is a vital part of that. The streamers know it, broadcasters use it. What\u2019s interesting for me, and it\u2019s relatively nascent, is we\u2019re seeing now the rise of YouTube on connected TVs. So, this battle for the living room; it\u2019s not just the preserve of broadcasters and streamers anymore. It is parents and kids sitting down and going, What can we watch together?\u201d<\/p>\n
Janes also highlighted the co-viewing experience that can come from YouTube on the big TV, and discussed how pocket.watch has built its business on the platform and beyond. \u201cPocket.watch partners with creators that have already amassed a significant audience. We like to look at what they\u2019ve already been producing, what\u2019s been working for them, and help to extend that brand. For example, with Ryan of Ryan\u2019s World, we developed the TV show Ryan\u2019s Mystery Playdate<\/em>, [which] ran for five seasons on Nickelodeon and got an Emmy nomination. So, we look at ways to expand beyond just YouTube, but using YouTube as that core marketing component as well. For our SVOD service, we might launch a new show there, but then put the first episode for free on the creator\u2019s channel and then have calls to action to go check out Ryan and Friends Plus.\u201d<\/p>\nBrooks is co-creator, with Snoop Dogg, of Doggyland<\/em>, an animated series available on YouTube. \u201cOne of the big things for Snoop Dogg and I when we came up with this idea was to make sure that we launched it on a platform that was free for everybody. One of the things that speaks to our audience and to the kids in a big way is TikTok dancing. Almost all of our episodes have that type of engagement. We now see folks shooting our show on the big screen, and they\u2019re doing the dance-along. YouTube really has helped launch that.\u201d<\/p>\nEcosystems feed each other, Prigent said, \u201cwhether we\u2019re talking about linear, SVOD or YouTube. You have to have this exposure on YouTube because it means that kids anywhere at any time can find you\u2014and parents and carers, obviously. It\u2019s massively important.\u201d<\/p>\n
As for how to program a YouTube channel, Janes responded, \u201cIf you\u2019re going to launch a YouTube channel, you have to have a plan for uploading videos on a regular basis. Doesn\u2019t have to be daily. It could be weekly. It could be one to two times a week. Having a full season of something to launch can be nice to have, so if you put the marketing out there and people come and binge-watch, great. But if you don\u2019t have that 16th episode or that 16th video after those first 15, your audience is not going to stick around.\u201d<\/p>\n
Redfern referenced the term \u201calgorithmic health\u201d and concurred with Janes\u2019 point about regular refreshes and consistency. \u201cThe key to me, as someone who came from a broadcast background, is reframing how you consider content when you\u2019re making it. It used to be that your YouTube channel was an afterthought. Now, you\u2019ve got to think about how you\u2019re going to service that channel and that audience with your content much earlier. That will pay dividends in terms of efficiencies, but also give you that ability to keep consistently showing up on YouTube, that upload cadence. Make sure that you\u2019re playing to what YouTube is prioritizing. Careful planning of uploads, maintaining a cadence, making sure you feed the channel, and also, again from a kid\u2019s point of view, knowing what they\u2019re there for. What\u2019s their need state when they\u2019re on YouTube? You get to know your audience in a much more intimate way than you ever did with broadcast. So do that. Lean into them, be curious, because then you can service their need state when they\u2019re on YouTube, and that means they\u2019re more likely to come back.\u201d<\/p>\n
The panelists then talked about promoting discoverability. Brooks highlighted the use of social media. \u201cOur show is really about social-emotional values, though we also delve into cognitive. So, our songs have a lot to do with real-life stuff that can uplift you and get you thinking about different things. When you throw it into a cool beat and choreography and everything, it just adds to this world that really does lead right into what social media is doing.\u201d<\/p>\n
Redfern observed, \u201cYounger millennial parents grew up with social networks. They\u2019re using that to talk to other parents as well. What are you watching? It\u2019s the watercooler moment in terms of finding what\u2019s trending on YouTube. That\u2019s where social media comes in. It helps with that discoverability problem that we have with YouTube, but again, it helps promote that sense of community. Younger demographics don\u2019t want to be passive when they\u2019re engaging with brands. To Claude\u2019s point, they want to engage with it. They want to share, they want to talk about it, they want to connect. Social media is a way that they can do that around YouTube, and it really helps drive that YouTube channel as your core platform.\u201d<\/p>\n
There are plenty of cross-promotion opportunities within YouTube itself, Prigent said. \u201cIf you have a linear partner, they do their promotion for their own services. You benefit from that; they benefit from your channel. If you have several channels, you can cross-promote across them.\u201d<\/p>\n
Janes expanded upon Prigent\u2019s point, adding, \u201cWe actually launched an in-house agency called Clock.Work, [through which] we can work with major brands like Mattel, Nintendo and Paramount to create custom content with the creator that will then be published on their channel. We also have an ad sales team that will place media throughout YouTube and YouTube Kids to promote that content and that brand.\u201d<\/p>\n
HARI is currently developing the rollout strategy for season four of Grizzy & the Lemmings<\/em> and determining where YouTube sits within that plan. \u201cWe look at it territory by territory because we don\u2019t have the same flexibility in terms of rights,\u201d Prigent said. \u201cYou may have some holdbacks, SVOD or linear. We\u2019re thinking about starting with YouTube in batches, as we deliver. That is also to promote the launch on the local partner broadcasting the show. It\u2019s really a great tool in that sense.\u201d<\/p>\nLooking at YouTube analytics can help inform a rollout strategy, Janes noted. \u201cWe can get a pretty good sense of how something is going to perform off YouTube based on how it\u2019s performing on YouTube.\u201d<\/p>\n
Redfern agreed, adding, \u201cOnce we\u2019ve got enough content on the YouTube channel where we can gather meaningful data, we know which characters are tracking, which kind of stories, which kind of educational shorts are resonating. We\u2019ll make more of those. We might make less of the others. It\u2019s a really fascinating way of making content. It can feel slightly relentless and exhausting at times. But in terms of a way to create content, I can\u2019t think of a better way to do it in terms of that test-and-learn ethos.\u201d<\/p>\n
For Janes, the key metric is average view duration, \u201cwhich is a measure of how far into each video the audience is watching. If you have a ten-minute video and they\u2019re making it in about 20 seconds and they\u2019re dropping off, you know that you did something wrong somewhere. If you\u2019ve got an audience that\u2019s sticking with you through 70 to 80 percent of your video, you\u2019re on to something, and you look for those patterns in your content. We pay attention to click-through rate a little bit, as well. That is more about how well we are promoting that video to the audience so that they click to it. We have massive libraries of content on YouTube already through our creators, and we look a lot at the long tail. So, the views beyond the first 45 days is something that will help you understand what\u2019s still performing well in your catalog. The only word of caution is to be careful about chasing trends. Those are fleeting and not necessarily the best way to build that long-term relationship with the audience.\u201d<\/p>\n
Redfern added: \u201cIt\u2019s very easy to get sucked into analytics on YouTube. I love tinkering with a dashboard and seeing what I can uncover that might be that secret sauce. It can take you down a rabbit hole that perhaps isn\u2019t right. So, you need to balance that with, what does my audience want? It is that authenticity of connection.\u201d<\/p>\n
\u201cYou can use the content from the past at the start of compilations and things like that and capitalize on this content that is already performing super well,\u201d Prigent added. \u201cI think as long as you stay true to the essence of the show and that you don\u2019t suffer from trends just for the sake of it, then you captivate your audience.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
HARI\u2019s Sophie \u201cKido\u201d Prigent, Wind Sun Sky Entertainment\u2019s Jo Redfern, pocket.watch\u2019s Brian C. Janes and C To The B Productions\u2019 Claude Brooks highlighted the various ways IP owners can utilize YouTube at the TV Kids Festival.<\/p>\n","protected":false},"author":290,"featured_media":26833,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[8934,8935,7190,7209,8314,2567,6869,9024,7831,1207],"class_list":["post-26832","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-brian-c-janes","tag-c-to-the-b-productions","tag-claude-brooks","tag-hari","tag-jo-redfern","tag-pocket-watch","tag-sophie-kido-prigent","tag-tv-kids-festival-2024","tag-wind-sun-sky-entertainment","tag-youtube","pmpro-has-access"],"yoast_head":"\n
YouTube Strategies Explored at the TV Kids Festival - TVKIDS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvkids\/youtube-strategies-explored-at-the-tv-kids-festival\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"YouTube Strategies Explored at the TV Kids Festival - TVKIDS\" \/>\n<meta property=\"og:description\" content=\"HARI\u2019s Sophie \u201cKido\u201d Prigent, Wind Sun Sky Entertainment\u2019s Jo Redfern, pocket.watch\u2019s Brian C. 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