The business of moving images starts with creators. Writers, producers, directors, editors.
They have complex, multi-faceted businesses.
WORK ON BOTH ENTERTAINMENT CONTENT AND MARKETING MATERIAL
WORK BOTH ON CONTENT WHERE THEY OWN THE RIGHTS AND ON OTHER PEOPLE’S PROJECTS
But creating content isn’t easy. Funding is a major challenge.
of creators spoke of challenges around funding, client budgets and production costs
Other knotty issues included:
Infrastructure, specifically bandwidth for large video files
Loss of crew technical expertise due to crew changing industries
Changes in viewing behaviour, the move away from Free-to-Air TV
Strangleholds on digital rights
We’ve already mentioned funding. It’s certainly an issue for entertainment content:
The system itself has become a major stumbling block to the creation of Australian screen content. The funding agencies ‘rules’ lag behind the implications of the technology developments.
How is ease of obtaining project funding changing over time?
Despite more channels and platforms than ever before, distribution is another huge challenge:
Likelihood of having distribution in place before starting production
Broadcasters, publishers and distributors are not turning to local creatives as their first choice:
Where broadcasters, distributors & publishers source content
Hardly surprising that 9 out of 10 content creatives think Netflix, Stan and their competitors should be required to support local content just as traditional broadcasters are.
Local content requirements should be similar for streaming services and traditional broadcasters
Marketers, on the other hand, are going full-steam ahead with video.
Video marketing has increased dramatically and brands are beginning to see the benefit of using content based marketing.
They’re experimenting with video formats:
Use of different video formats
Their top marketing channels are changing too:
Outdoor is on the out – at least for moving image content
Online advertising is in
TV is still popular, but there’s less faith in its effectiveness
What are your top 3 marketing channels for video content?
Dataset: Channel users ranking channel in top 3 channels
Managing Moving Image Content Remains a Headache
HAVE LOST CONTENT AT LEAST ONCE
WEREN’T ABLE TO GET IT BACK
(Up from 12.3% last year)
Have you ever lost content?
Have you ever lost content completely?Once.
How did it happen?An inexperienced IT person pressed the erase button, losing the entire project.
And what did you do about it? We had to recut the 30 minute program from scratch. This was a big cost with no insurance for such an event.
Have you ever lost content completely?Yes.
How did it happen?Hard drive fell on the floor.
And what did you do about it? Cried.
Why is that figure so high? Some potential contributing factors:
57% store media files on external hard drives, which are not robust
43% have no formal policies for organising and
23% think it’s ‘everyone’s job’ to look after content
Even for those who keep content safe and don’t have to recut, the cost of time looking after content is huge and is growing.
There is usually a lot more excess material shot in digital formats.
Making Content Work Harder
How often do you re-use content?
Re-use of content is becoming more common – it’s not just the percentage of people doing it, it’s how often they re-use too.
Rights management and reformatting are issues for about 20% – up from 15% the year before.
Issues when re-using content
What do you see as the biggest opportunity for your sector of the content industry in the future?
Supporting international brands to localize marketing material onsite in Australia rather than overseas.
Preferred Media conducted the ‘Moving Images Moving Landscape’ Survey in March 2019. We surveyed brand advertisers, agencies, publishers, broadcasters, filmmakers and production houses across Australia.