Q & A - Dan'l Hewitt

by SWS on 28-Aug-09 11:25

 
We gave you the chance to put your questions to Dan'l Hewitt, Director of Digital Content at Bebo - his responses are below:

Q: How does Bebo commission online drama content and what is the process like?
Lucy V Hay

Q: What is it you look for when you are commissioning new shows and do you actively look for new properties or is it is submission based process? Do you actively look for properties that you feel could fit in with partners you already have or do you find a property you really like and then try and partner them with appropriate sponsors?
As an independent producer, I would obviously love to be able to pitch ideas to you but I am just wondering what is the best way to move an idea forward with Bebo.
Tim Bryans

A: Hi Tim and Lucy.  We have never had a pot of money to make shows, so thinking of us as a commissioner in the traditional sense can be a little misleading. Getting our Bebo shows off the ground has really been a combination of the 2 scenarios Tim mentioned. We do get pitched ideas (100's) and of the few (7), we have been able to get off the ground, they were really able to demonstrate strength in the following core areas:

• Understanding digital platforms and audience (existing YouTube channel(s), MySpace/Facebook/Bebo pages
• Telling stories in a new way. How could an audience interact, take part or drive the story. Here is a great new example of leveraging platform enhancements to tell a story.
• Can you demonstrate ways for brands and sponsors to play a part. Examples of branded integrations into Bebo shows can be seen here.
• Cost. The typical online show is made for a fraction of a similar TV commission.
• A pilot or showreel. All of our funding has come from ad agencies, and it is very challenging getting those folks’ buy-in with just a powerpoint or A4 pitch.

We love taking brilliantly creative ideas to brands, but recently, we have had more success in reversing that process. Taking briefs from brands and then working together with the agency and a number of production companies and digital talent to create a show or format that fits.

Q: I would just like to know how production companies can pitch ideas or send pilots to BEBO for consideration?
William Westaway, Producer

A: Thanks William. We are very happy to receive ideas and are in dialogue with many companies. If you are sitting on pilots, perhaps you can re-edit or expend them a little and simply 'get them out there'. Here is an example of a company which was pitching to us well over a year ago.

It costs nothing to create a Bebo/Facebook/YouTube profile and you can gain great consumer insight as well as having a great pitch tool for commissioners/brands.

Whilst as I understand The London Affair has yet  to be picked up, I know the team working on it have benefited from their experience. Being asked to present across industry panels, as well as opening new work and project opportunities for them.

Q: I'm pitching a TV / online crossover series to some top TV execs at this year’s Screenwriters’ Festival. It is for the teen market and is called "Delete Friend?". The pitch is - after deliberately spreading a social network virus Jade must visit everyone of her on-line friends to apologise. But is everyone who they seem?So it would be an episodic series - some parts online, some on TV.
My question is - do you think it is better for me to approach the broadcasters with an online partner (like Bebo) already interested? Or would that count against it? And similarly what would be an online content provider’s view be? Would they be interested in having a TV company partner - or do they prefer 100% control?
Tim Clague, Director – Writer

A: Cheers Tim. I am not sure that the broadcasters know that themselves. Other than the Channel4 Education team, we have not been able to get a sustained cross-platform project off the ground with any. All the broadcasters have invested heavily in their digital offerings and it is understandable that the digital projects they work on would sit there. I think the broadcasters would like to see ideas that incorporate social media, and believe you would have success if you can show the referral and financial value of the social media aspect of the project. By that, I mean being able to demonstrate driving unique users from social sites to broadcaster-owned and operated properties and to view the TV part.

Q: Take a look at the trailer of this series we are launching on the web in October:
See www.liquidsoap.tv
Can you envisage a time that a university could be the host for a site that provides an extended social networking site and supports entertainment but is part financed by advertising.
Nic Jeune, Bath Spa University

A: Hi Nic, I am not sure that you need to build out an entirely new site for hosting and streaming content. I would rather suggest leveraging existing as well as exploring emerging video platforms, all of whom have different commercial models for content creators. MetaCafe, YouTube, DailyMotion offer revenue sharing or allow you to bring your own advertising. Bebo has a platform that allows content creators and rights owners to bring their own advertising and keep 100% of the revenue. Emerging premium video sites such as BabelGum and CurrentTV are pushing new types of commercial models for creators. You can look to sell your content through iTunes and other digital retailers.

Q: What do Brands get out of this?
Jayne chard, Hummingbird Films

A: It has always been very difficult to reach the teen market, and that has been compounded by an ever increasing media fragmentation. Internet advertising formats are still in their infancy, and new formats and advertising models are in development, or indeed, yet to be thought of. Branded content however has been around for a long time. It is well known that the term 'soap opera' stems from early radio programs funded by soap manufacturers. We have been able to prove a successful engagement and branding model for advertisers in much the same way as the old radio programs. We have a very specific demographic which we are able to target and promote messages to. We are also seeing many of the large advertising agencies building specific branded entertainment teams.

There is more information on what Bebo has done with brands here

Q: What size budgets are there for dramas?
Jayne chard, Hummingbird Films

A: Budgets started low, and have been shrinking over the past year. However, recently we have seen some bigger brand commissions with shows such as ‘Who Killed Summer’ (Vodaphone) and ‘Freak’ (P&G, Redbull). It really does vary on the format of the show, the number of episodes, and the length of time it would run for.

Q: Do you have to work through the brands media agency?
Jayne Chard, Hummingbird Films

A: Yes Jayne, all of our shows to date have come to life with the support of the brands agency. We work very closely with them through the entire process, from identifying or pitching briefs. We also typically build out a traditional media spend for the brand that will guarantee brand impressions either to the show itself or an associated branded page on Bebo. As I mentioned earlier, we are increasingly working closely with the agencies in trying to develop new formats the meet a particular brands requirements. A good example of this is our current music show, ‘Beat’, made by Endemol and sponsored by Samsung. This show and the experience around it was all developed on the back of an initial Samsung brief for the release of a new handset range.

Many thanks to Dan'l for giving his time to answer these questions.

More 'Ask the Experts' opportunities coming soon - visit the Masterclasses homepage to find out more.

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