Canadian producers and agencies say there is a “significant” untapped opportunity in the branded entertainment space, but have misgivings about the rise of “unproductive competition” as the roles of broadcasters, creative and media agencies, brands and producers continue to blur in the development of such programs.
They are among the findings of a new report issued by the Canadian Media Production Association (CMPA) as part of its ongoing study, “Branded Entertainment: A New Production Financing Paradigm.”
Written by Catherine Tait, president of New York-based film, television and multi-platform content company Duopoly, The Canadian Experience, is the second of three papers comprising the study. A third paper, The Future of Branded Entertainment, will be published in April.
The latest paper examines the issues facing Canadian content producers when working with brands, particularly as the practice moves beyond a TV-centric model towards integrated, cross-platform campaigns.
Aimed primarily at producers, the paper offers up a series of best practices for working with brands – and possibly agencies – on content initiatives in an arena quickly moving beyond a TV-centric model towards integrated, cross-platform campaigns. They include:
• Access annual marketing briefs of brands and develop to brand needs
• Recognize and be sensitive to brands’ objectives and goals
• Remember that the entertainment value of a branded content property should be a priority – for the broadcaster, regulator, and the consumer
• Do not target brands as purely a source of financing, but as a collaborative partner
• Consider partnering with creative agencies
• Incorporate a multi-platform approach in the development of branded properties
• Consider the development, production and marketing of branded entertainment properties as a year-long undertaking, not restricted to broadcast airdates
• Respect the complexity of multiple stakeholders’ legacy interests and roles: broadcasters, agencies, brands and producers!
• Consult early with CRTC and CAVCO (Canadian Audio-Video Certification Office) officials to ensure eligibility
The paper suggests that aligning the objectives of producers and marketers can be a significant hurdle to clear. While producers care about creating great entertainment that generates ratings and renewals, brands are seeking certainty and measurable results. Producers, Tait writes, need to consider adapting to a different set of success criteria.
For example, while the Kokanee beer brand’s 2013 feature film The Beer Out Here (a $3 million project created by Toronto agency Grip) was not a critical success, Tait said that it achieved – and even surpassed – its marketing objectives.
According to the report, the beer brand’s market share in the key Western Canada market during the campaign was 6% higher than its objectives, while the project clearly engaged fans – with more than 70,000 interactions on the movie’s website and more than 3,500 fan names included in the film’s end credits.
Citing the new documentary on mixed martial arts fighter Georges St-Pierre created by Sid Lee offshoot Jimmy Lee (Takedown: The DNA of GSP), the study says that creative agencies might ultimately be better positioned than producers to create long-form content for brands because they understand brand strategies and the ROI that brands expect.
Respondents from agencies and producers indicated that broadcasters currently drive Canada’s branded entertainment business, with successful properties filling in TV-led initiatives with web, social media and other integrated elements to round it out.
The study suggests that the persistence of a silo mentality between sales and programming is one of the primary obstacles to producing superior branded content.
The paper says that the issues facing Canadian brands are similar to those faced by their U.S. counterparts: More sophisticated consumers with an infinite amount of choice seeking more authentic and frequent communication with brands through a variety of channels.
