Monetizing OTT Canadian content in the global marketplace

Monetizing video content: how can we do it?

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Day: May 11
Time: 1:00PM - 2:15PM

With traditional advertising dollars drying up, how can content creators make money from a seemingly shrinking pot? How can the creation of high-quality content that is exportable and discoverable be supported in an increasingly global marketplace? Do kickstarter campaigns, embedded advertising and platforms like Rumble.com redefine content monetization in this digital era? This session focuses on examining content funding and monetization models in the context of the current international landscape.

Video summary

Monetizing Canadian video content is still difficult in the increasingly global marketplace. Historically, we’ve been focused on good content, but not so much on aggressive marketing, monetizing, branding, and discoverability. Our regulated system has served us well in over-the-top video content, but times are changing. We need our high-quality content that’s exportable and discoverable – shows like ‘Saving Hope’, ‘Orphan Black’, ‘Book of Negroes’ – to be supported and monetized worldwide. In this video, Jocelyn Hamilton, president of eOne Television, explains why she’s optimistic about this question. Companies like eOne are providing the opportunity for content creators to reach more platforms, like Yahoo, MSN, and AOL. The panel explains that, although the competition is strong, broadcasting networks and promotion from Telefilm and CMF are enabling us to package content in a way that will sell around the world but remain powered by Canada. See Hamilton reveal the strategies.

Experts in this video

Valerie Creighton

President and CEO, Canada Media Fund

chris_pavlovski

CEO Rumble.com

Francesca Accinelli_5858_Col

Director of National Promotions and Communications, Telefilm Canada

Jocelyn Hamilton

President, Canada, Entertainment One Television

Video transcript excerpts

“How can the creation of high-quality content that’s exportable and discoverable be supported, and more importantly, monetized in this increasingly global marketplace?”

“In the last 50 years or so in this country, we’ve developed an ecosystem that’s primarily focused on the development and production of great content. The regulatory environment required broadcasting or distribution of this content to be aired often at a time and in a defined timeframe, or screened in major centers, and then everyone was on to the next project. Generally speaking, our historical behavior has had less focus on aggressive marketing, monetizing, branding, and discoverability certainly of Canadian content in the global marketplace.”

“The world too around us has changed. The digital revolution has opened up unprecedented opportunities for content everywhere and OTT appears to be with us to stay. Choice is unlimited in this tsunami of available content, so where and how will Canada be found?”

“Advertising, as the dominant revenue, has been seriously challenged in both traditional TV and digital channels. The limitations of the advertising model have forced industry players to rely on several models of monetizing strategy simultaneously. User-generated content through social platforms and OTTs has circumvented these established models. This has resulted of course in more exploration and still greater fragmentation.”

“That’s where we’ve really got to talk about flexibility, opening up the ability for us to package things in a way that will sell around the world but is powered by Canada.”

“It’s getting better. Telefilm and the CMF have done a lot of work together around the promotion and accessibility of content everywhere.”

“Canadian independent feature films…yes, this year we had two films nominated for Oscars. Boy, that goes a long way in terms of Canadians finally seeing what is Canadian.”

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