{"id":16897,"date":"2021-11-07T10:00:53","date_gmt":"2021-11-07T15:00:53","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvreal\/worldscreen.com\/"},"modified":"2021-12-09T11:42:52","modified_gmt":"2021-12-09T16:42:52","slug":"game-change-1021","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/","title":{"rendered":"Game Change"},"content":{"rendered":"

Mansha Daswani hears from leading distributors about how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.\u00a0\u00a0<\/em><\/p>\n

From the sector\u2019s biggest players to boutique independents, changes are afoot in the business of selling factual content. Whether restructuring business models, altering rollout plans, launching FAST channels or pioneering new narrative techniques, companies are aware that the landscape is changing quickly\u2014and evolution can\u2019t stop, pandemic or not.<\/p>\n

\"\"<\/a>Of note, smack in the middle of Covid-19, longtime factual content executive Paul Heaney decided to embark on a brand-new startup. Having built TCB Media Rights into a thriving outfit that could feed the needs of numerous outlets\u2014from straight library acquisitions to co-pros, development partnerships and more\u2014Heaney knew all too well the demanding and rapidly evolving nature of the business. Following the downfall of Kew Media Group and TCB\u2019s subsequent sale to Beyond International, Heaney opted to build his new venture, BossaNova\u2014which recently received an investment from Herbert L. Kloiber\u2019s Night Train Media\u2014as one that was \u201cleaner and meaner\u201d than his last one.<\/p>\n

\u201cYou learned during parts of Covid that you can make these businesses work with fewer people,\u201d Heaney observes. \u201cWe had a lot of people at TCB. It was lean, but now you have to look at it again and say, this can be leaner still. It focuses you on what partners to choose. Eight years ago, I was obsessed with picking up hours and hours of content because I felt that was the right thing to do. Now, I\u2019ve turned away so much because I\u2019m not interested in that strategy as much. What\u2019s the point if it slows you down? I want to bring content in that is going to do a job and has an appeal.\u201d<\/p>\n

Heaney is not the only executive course-correcting amid a rapidly transforming world. Bo Stehmeier, who returned to Off the Fence at the start of this year to become CEO, put it like this when discussing the new strategy he has implemented at the company: \u201cThe macro system has changed massively. It\u2019s unprecedented times. As we navigate new waters, we have to prepare for something\u2014and we don\u2019t know what it looks like or what it will be like.\u201d<\/p>\n

FINDING THE HOURS<\/strong>
\nAmong the most significant shifts has been in simply securing access to a steady supply of quality content. Driven by vertical integration and streamers retaining global rights, just getting ahold of shows to sell can be a considerable challenge. \u201cThe old days of meeting a Canadian producer with hundreds of hours of completed shows in the catalog are gone,\u201d Stehmeier told TV Real<\/em> recently. And that means coming on board projects as early as possible.<\/p>\n

\u201cWe sometimes even encourage producers to come up with ideas and then we can discuss them,\u201d reports Ralf R\u00fcckauer, VP ZDFE.unscripted at ZDF Enterprises. \u201cSometimes we do development funding so we can help the producer create a sizzle to present to potential partners. We do that two or three times a year. In addition, we do self-commissioning. We have Great Inventions<\/em>, for example, a 35-part series we completely financed on our own, without any partners attached. We really do early-stage commitments.\u201d<\/p>\n

FAMILY TIES<\/strong>
\nZDF Enterprises has another preeminent factual distributor in its family, Off the Fence, which it took control of in 2019. \u201cMost people say merger and think 50 percent of the staff will get fired,\u201d R\u00fcckauer quips. \u201cWe had plans to merge the teams, specifically in distribution, but then Ellen Windemuth [the founder of Off the Fence] and I sat down and said, \u2018Maybe we should keep them separate. It\u2019s a different culture, different personnel, different structures, different partners.\u2019 So we chose not to. ZDF Enterprises owns the company, and we have a lot of exchanges about the market. Sometimes we get approached by a production company and they offer us a program, and I\u2019ll say it\u2019s not for my catalog, but it might be something for Off the Fence. And vice versa. Sometimes we do deals together. Off the Fence has strengths in certain territories. We\u2019re not competing. It\u2019s very comfortable.\u201d<\/p>\n

Like ZDF Enterprises, Off the Fence takes a flexible approach to securing content to license. \u201cWe can come on board at any stage, from early development to finished programs,\u201d says Stefanie Fischer, the company\u2019s managing director of sales. \u201cWhat sets us apart is that we are a distributor with our own production arm, which means we can bring in our expertise at any point. We are acquiring a lot more content than we produce, and our production knowledge is always an advantage when working with third-party producers, as we can share feedback. While we don\u2019t fund whole productions, we do offer advances, and we can help bring in partners at an early stage to raise the financing for a production.\u201d<\/p>\n

ARTE Distribution, similarly, looks to engage with producers early on in the process, \u201csometimes the project is not even sold to the French broadcaster\u201d ARTE yet, says Florence Sala, head of international distribution. \u201cWe discuss the angle with them and sometimes advise them on the international version.\u201d<\/p>\n

TRUSTED PARTNERS<\/strong>
\nAlbatross World Sales has established a network of producers it partners with frequently, according to Anne Olzmann, the company\u2019s managing director. \u201cOur philosophy is to always establish long-term relationships with our producing partners and give honest feedback. Until recently, we took on almost only fully financed projects. Now we are expanding our activities to projects in the earlier stages of production. We want to use our experience and market insights to get exciting productions off the ground and get them ready for the international market.\u201d<\/p>\n

Since its inception, Escapade Media made early alliances with producers a priority. \u201cThe development side of the business has always sought to take content on even if the idea is just an idea,\u201d says Natalie Lawley, managing director. \u201cIf it is the right proj\u00adect for Escapade, we will offer our executive-producer services to develop, finance and distribute. With the experience of working with buyers, commissioning editors and completed sales for over 20 years, we feel we can ensure that each project is carefully crafted to maximize its appeal to the global audience.\u201d<\/p>\n

Of course, that approach to boarding projects early does not come cheap. As Heaney puts it, \u201cYou have to have a war chest to spend on content\u2026. Any distributor that has the same setup or size they did in 2013-14 is probably going to be struggling now. You\u2019re not going to be able to get content without putting in a decent deficit. That\u2019s just the way it is. Nine, ten years ago, 90 percent of shows were fully funded. Now it\u2019s probably the opposite. Or it\u2019s fully funded, but there are no rights for those shows coming out of the streamers. Content that is available for distribution, most of it will need a deficit, and that deficit won\u2019t be small.\u201d<\/p>\n

That means being far more selective about what to take on\u2014and having the proper market intel to make those informed decisions. For Heaney, that translated into resurrecting \u201cDevelopment Day,\u201d an initiative he had started at TCB connecting producers with broadcasters. This year\u2019s virtual edition hosted 55 buyers perusing 77 projects from 29 producers. \u201cDistributors can work at an even earlier stage if you\u2019ve gathered enough market intelligence and are useful for [the producers],\u201d Heaney explains.<\/p>\n

The key is \u201cgoing where the opportunities are,\u201d Heaney says. \u201cThe streamers are still co-producing; they don\u2019t want to fully fund everything. The linear broadcasters don\u2019t want to co-produce everything; they want to fully fund some things. There is room for collaboration, especially if people know you can access money and you\u2019re willing to take a risk, or you have market intelligence and you can bring partners in.\u201d<\/p>\n

Mirjam Strasser, head of sales and acquisitions at Autentic Distribution, makes a similar point about being able to work across multiple models, noting, \u201cWe are not only including finished projects in our catalog, but also helping to realize projects in early stages through co-financing, presales or other forms of financing. In addition, we have our own production department that delivers high-quality productions every year. This combination puts us in a very good position in the market, where a battle for the best content is in full swing, fueled by the emerging streaming services.\u201d<\/p>\n

Indeed, the SVOD and AVOD platforms are upending the doc business in the same manner they changed the game in drama and kids. The opportunities created have been significant, both commercially and creatively.<\/p>\n

STREAM ON<\/strong>
\n\u201cAVOD and SVOD services have been an ever-increasing source of revenue stream for us and we expect that to continue,\u201d says Hud Woodle, executive VP of international sales and operations at GRB Studios. \u201cOver the last year, we\u2019ve increased our focus on finding and selling programs to these sectors. GRB is known for providing premium unscripted content, and we are glad to see a trend in streaming services gravitating to factual content.\u201d<\/p>\n

The streamers are generally \u201cmore flexible in terms of editorial,\u201d notes Fischer at Off the Fence. \u201cThey do not have such stringent audience profiles to satisfy and can therefore be far more curious exploring hybrid genres.\u201d<\/p>\n

Of course, streamers angling for global rights to shows has caused some windowing headaches, leaving distributors to craft careful and considered rollout strategies to make sure all opportunities are maximized, from linear to SVOD to AVOD.<\/p>\n

There are several factors to consider when weighing up deals. \u201cIt depends on the status of each project,\u201d observes Olzmann at Albatross. \u201cWhen a project is still in the financing phase, then the approach could be different from a project that is more or less finished without a finance gap. The chances to get significant funds from a streamer remain limited at that point\u2014though I am confident that this will change in the near future. So when it comes to financing films that are still in development or in production, we\u2019re generally approaching our main\u2014mostly public\u2014broadcasters and a few selected streamers first. We also work closely with our producers to reflect their vision for the project, especially in terms of a possible audience. There is a difference in audience numbers comparing VOD and pay TV versus public broadcasters. Public broadcasters still have the bigger audience share\u2014this may be more important to some producers. In addition, more broadcasters are asking for full exclusivity or a VOD holdback, so we have to be careful in licensing to the right partner at the right time. It has become quite a rights jungle to navigate now, but for me, that is the fun part of being a distributor: finding individual solutions to make all sides smile and get the stories out there in the best possible way.\u201d<\/p>\n

THE RIGHT MATCH<\/strong>
\nOff the Fence\u2019s Fischer agrees, noting, \u201cStreamers are often looking for content that cannot be seen anywhere else\u2014they are looking for that edge and USP that a traditional player wouldn\u2019t include in their prime slot. Therefore, we first and foremost need to ask ourselves where we could see the content fit best. It\u2019s about finding the right match for each project. We want to ensure that we capture the sensitivities around the program\u2019s needs. We look at the return on investment, from profit to impact, eyeballs, campaigning, etc. Sometimes it is worth keeping more control over a title and flexibility to place it with different players in different markets across the different exploitation forms.\u201d<\/p>\n

Acknowledging the increasingly complicated nature of rights management, Autentic\u2019s Strasser observes, \u201cWe simply have to pay attention to which rights are sold to whom. Strictly speaking, it has always been like that. In addition, productions that may have already completed their life cycle on TV can find new homes with streamers. We see the different offers more as a complementary cycle than as competing rights-exploitation options.\u201d<\/p>\n

For the high-end projects and original commissions, the factual streaming business is being driven by the SVOD players, but the AVOD market should not be discounted. \u201cThere\u2019s huge interest in AVOD at the moment, specifically in FAST channels, because they are lean-back experiences,\u201d says ZDFE.unscripted\u2019s R\u00fcckauer. \u201cIt\u2019s an exciting area. You can\u2019t make a lot of money, but you can collect money. We\u2019ve always been very active on all platforms. We were a launch partner for iTunes in Germany 15 years ago. We started collaborating with Google and YouTube. And we have plans to launch FAST channels.\u201d<\/p>\n

\u201cAVOD, and in particular FAST channels, are gaining relevance,\u201d agrees Fischer. \u201cA global streamer SVOD deal for a premium title is, of course, a very different business model to AVOD and FAST, although we are seeing SVOD starting to mimic FAST channels in certain parts of the world. As FAST is growing from strength to strength, we are in serious presales negotiations with those channels that have harnessed their core audiences.\u201d<\/p>\n

Strasser is upbeat about the YouTube opportunity, with the company having entered a content partnership with Little Dot Studios Germany, \u201cwhere we exploit content from our distribution catalog on their YouTube channel. We also have similar partnerships with international companies.\u201d<\/p>\n

As for narrative trends within factual, the competition for the most compelling personalities, the latest cutting-edge technology and deep insider access is intense.<\/p>\n

\u201cClients are asking for more than the classic blue-chip title, and there is a need for a real USP in access, talent and story, with authentic emotional narrative arcs,\u201d says Fischer. \u201cWe also find the growing appetite for content exploring diversity and diverse storytelling very encouraging.\u201d<\/p>\n

Albatross\u2019s Olzmann says that natural history and science are both in high demand at the moment. \u201cMany buyers who used to only buy the feel-good, plain nature-portrait shows are now looking for more in-depth, captivating stories to go along with astonishing nature footage,\u201d she notes.<\/p>\n

History is also on a lot of buyers\u2019 wish lists, says Strasser at Autentic, \u201cespecially ancient and contemporary history. Wildlife is evergreen. However, there is a noticeable shift toward conservation programs and the relationship between humankind and nature.\u201d<\/p>\n

THE NEXT WAVE<\/strong>
\n\u201cPeople are thinking about climate change,\u201d agrees ZDFE.unscripted\u2019s R\u00fcckauer. \u201cMy impression is, what is the next step? What will happen after that wave? You don\u2019t want to just watch a climate change doc; you want something different. People are thinking about Covid and what it says about us and our relationship to nature. We\u2019re trying to bring green thinking to the next level. That\u2019s one of my biggest interests. And many clients are asking us for dinosaurs! It\u2019s been years since you saw the big landmark Walking with Dinosaurs<\/em>. Now we have better CGI technology. What would happen if you transferred that technology into a really good dinosaur story? I would love to build up a classic co-production model with three or four partners, maybe public broadcaster-led but not necessarily, possibly in combination with a streamer, to tell the dinosaur story from A to Z again.\u201d<\/p>\n

True crime remains a top-seller in the factual business, according to GRB\u2019s Woodle. Still, R\u00fcckauer reports that while stories of American misdeeds fare well worldwide, local broadcasters are generally more interested in domestic tales. \u201cEveryone wants true crime, but it needs to be very local and specific, which doesn\u2019t sell internationally,\u201d he says.<\/p>\n

Both Lawley at Escapade and Sala at ARTE Distribution reference the clear demand for escapism amid pan\u00addemic woes (and travel challenges), while Autentic\u2019s Strasser says that male-driven factual entertainment is \u201cselling like hotcakes.\u201d<\/p>\n

At BossaNova, Heaney has set out to craft a curated slate that builds upon the close to 1,000 hours he has from the CJZ and Greenstone catalogs. \u201cThat was a big win for us,\u201d he says. \u201cI don\u2019t obsess about hours; I obsess about returning brands and new brands. They have lots of those, which gives a value beyond the number of hours. There are two poles [in the BossaNova slate]: the returnable, repeatable, scalable\u2014it doesn\u2019t matter what genre it\u2019s in\u2014and then the one- to four-part premium. In terms of subjects, it\u2019s true crime, history, adventure, paranormal, hidden-world docs, blue light, ob-doc series, engineering, mysteries, quick turnaround [and more]. We\u2019ll go where we think the demand is. We\u2019re not going to just build up a catalog. We\u2019re not saying, \u2018Brilliant, that adds 120 hours,\u2019 because that\u2019s boring and a waste of time. We\u2019re picking up projects we think are going to at least wash their faces\u2014and maybe do a little more.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Mansha Daswani hears from leading distributors about how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.\u00a0\u00a0<\/p>\n","protected":false},"author":290,"featured_media":16898,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[],"class_list":["post-16897","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nGame Change - TVREAL<\/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\/tvreal\/game-change-1021\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Game Change - TVREAL\" \/>\n<meta property=\"og:description\" content=\"Mansha Daswani hears from leading distributors about how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.\u00a0\u00a0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/\" \/>\n<meta property=\"og:site_name\" content=\"TVREAL\" \/>\n<meta property=\"article:published_time\" content=\"2021-11-07T15:00:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-12-09T16:42:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvreal\/wp-content\/uploads\/sites\/12\/2017\/07\/Royals-Keeping-the-Crown-OffTheFence-0921.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"360\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/\",\"url\":\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/\",\"name\":\"Game Change - TVREAL\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#website\"},\"datePublished\":\"2021-11-07T15:00:53+00:00\",\"dateModified\":\"2021-12-09T16:42:52+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/game-change-1021\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvreal\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Game Change\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvreal\/\",\"name\":\"TVREAL\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvreal\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. 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