03 May BRIEF ENCOUNTERS – Short-Form Content Has Come Of Age In The Mobile Era
|By Chris Thomes, Monday, April 17, 2017|
Original digital short-form series have become far more prolific over the last few years. And we’re not talking about YouTube videos of kids talking to camera from their bedrooms, or mash-ups of others’ original programming. We’re talking about real, TV-level, premium content. Real shows. Real stories. Professionally produced. There’s just one difference: length.
The proliferation of mobile devices and the consumption of video on everything from tablets to phones to PCs has increased the demand for short-form, snackable programming—anything from 19 minutes down to 30 seconds. And everyone is producing short form, from Doritos and Lexus to music artists and politicians. As a result of this saturation, consumers are now starting to demand more curated, premium programming. It all comes down to the viewer’s time, or lack thereof. With so many things competing for their attention, they have grown more discerning and impatient with low quality. The true way to gain their loyalty is by making content that is simply worth their time, be it 30 seconds or 19 minutes.
Producers in this space have seen what was once the “wild west,” with no rules and few expectations, evolve into a professional community where production looks a lot more traditional, budgets are rising and talent is just as important to a show as it is in network TV or movies.
Chris Hanada of Retrofit Films acknowledges that, “digital budgets have steadily and slowly risen over the years, while at the same time filming technology has become less expensive. Visually, audiences expect that a digital production look just as good as an on-air show. From a business perspective, the standards to which we are held by studios, networks, legal, financers and guilds are just as complex as a television show at this point. The continuing convergence of digital with traditional [production] has given us the opportunity to go from being a couple of guys in a garage to producing network content relatively quickly. Since the launch of our show This Isn’t Working (ABC’s digital series created by and starring Lisa Schwartz), the meetings we’re taking now are not just for digital originals, but for television projects as well.”
Hanada’s business partner, Tanner Kling, concurs and notes that the evolution has shifted their business. “When we started Retrofit Films back in 2005, our niche was exclusively digital short-form productions, so it’s really what launched our business. Back then we were producing almost exclusively derivative series [spin-offs and side stories of broadcast TV shows, feature films, etc.] but we always knew the platform would evolve. Moving into original digital series has, of course, been more creatively rewarding and has turned out to have been a great step toward the next opportunities.”
Retrofit isn’t alone. Many producers who have been in the trenches defining transmedia content and short-form for the past several years are now growing into the grand sythesizers in this field. They are bridging the smaller-scale world of digital with the high-end production value of scripted TV.
David Tochterman and Bernie Su of Canvas Media Studio have not only been affected by the changes, they are making it their core business model. Tochterman notes, “It’s our primary focus. We launched Canvas with the intention of creating short-form scripted series that are designed for digital platforms as a first window.” Their determined focus on innovation is now merging with traditional production approaches and what is coming out the other side is a variety of short formats that all focus on high-quality storytelling. But all of these producers can agree on one thing: the art of producing remains the same as it has ever been, perhaps with the main difference being the number of hats the producer typically has to wear on smaller scale projects.
Regarding their approach, Hanada explains, “Production is production. It’s funny to have meetings with networks or studios and explain what we did on a digital series. Then they ask us, ‘Can you handle a bigger budget?’ The truth is, we have had to wear multiple hats on these projects just to get things done – having a larger budget never intimidates us. A recent production of ours had a very high budget for digital, where it was almost comparable to an episode of television, and truthfully, it was a huge relief because we could build out a full staff to handle the nuts and bolts and we could focus on our most important job, the creative producing.”
And while creative producing remains at the core of quality content, formats are changing radically, which adds another layer of complexity. Anything under 19 minutes seems to be the norm for mobile viewing. Tochterman explains, “Episodic length and individual platform specifications vary from project to project, which is both challenging and exciting. Every platform is designed differently, and as they refine their standards, Canvas needs to be flexible and versatile with our creative and business models.” By embracing the disruption, Tochterman and Su have become some of the top producers for premium digital short-form programming. From their scripted dramatic digital series, Vanity, to their upcoming Socio project, they are leaning into the opportunity that short form provides, focusing on creative issues, characters, and leveraging the format to their advantage by embracing short story arcs that are dramatically charged.
And that seems to be what younger, mobile-first audiences are seeking. In a Snapchat/Instagram world, millennials (and post-millennials) are finding their attention drawn to short, snappy, snackable content. But given all the competition in the digital space, premium scripted programming is starting to stand out as a beacon for distributors looking for a way to cut through the noise and establish a beachhead with new audiences. The Television Academy saw this trend and recently created five new short-form Emmy categories specifically for scripted comedic and dramatic programs, non-scripted programs, and best actor and actress in a scripted short-form series.
Canvas certainly is taking advantage of this trend. No strangers to Emmys, Su has won two on his own for earlier digital series and Vanity was nominated last year. This premium approach hasn’t just paid off with awards; eOne Television recently bought a stake in Canvas. Canvas intends to use this investment to distribute, produce and finance premium scripted content for digital and traditional media, as well as emerging VOD and OTT platforms, while eOne Television will have first dibs to help produce and distribute the fare worldwide across all media. And this premium content is taking a cue from the reigning motion picture model—franchises. David Tochterman explains, “Our focus is on creating entertainment franchises. Short-form is sometimes used purely for marketing, but that’s not our primary business. We look at shorter form series as way to build IP value by connecting with younger, engaged audiences on digital-first platforms.”
But with all of this talk of a premium approach, keeping costs in check and managing digital productions require different thinking from traditional TV. Instead, short form tacks closer to an indie film production model, with small crews wearing multiple hats, living or dying on creative solutions to everything from production design to craft service. Retrofit’s Hanada believes that, in fact, the scale of production for digital is the essential distinction. Big crews just aren’t feasible. As quality increases, budgets will grow, but money is still very selectively targeted at key areas to increase production value. Tanner Kling explains, “Other than different guild and union rules, rates, etc., producing for this medium is just as challenging as traditional. We still need to dot each “i” and cross each “t.” That digital production is different or easier in some way has been one of the biggest misconceptions we’ve encountered since we started. The platform should not dictate the budget. The creative and the execution should. Often in digital, we end up backing the creative into a flat budget we’ve been given and it pains us creatively to have to cut the things that would make a show really pop. That said—I’ve yet to meet a producer that ever felt like they really had enough,” he laughs. “It’s our jobs to figure out how to maximize resources.”
Which brings us to how a short-form producer brings it all together. The producing team needs cohesion, vision and producing leadership to execute properly. Hanada notes, “The one thing that is different is that the digital projects often are more interesting creatively. You can be a bit more experimental with form and style in digital. Our cast and crew are often top-notch people and we usually can’t afford their usual rates, but they’re excited to be working on something new and fresh. It’s much easier to bring great crew on board when everyone is excited about the material. It also makes negotiating deals easier when I can tell anyone, be it in front of or behind the camera, ‘This is what I have, and it’s what everyone else is getting, so I can’t give any more. But it’ll be a good time with a good crew and we’ll make something special.’ I think everyone from the top on down sees the opportunities, and it’s a better experience and a better product when your cast and crew believe in what they’re doing and aren’t just punching the clock.”
At the end of the day, these new digital producers are excited by the new challenges and using them to their advantage in a shifting marketplace. The combination of high quality and smaller scale seems to be paying off for not just producers, but for audiences too. Making premium programming at flexible price points is the name of the game. With increasing distribution of short premium programming across mobile and OTT platforms, the investment from traditional companies into the space, and acknowledgement of the format by major industry organizations like the Television Academy, you can expect short-form to stick around for a long time.
This article was first published at the Producers Guild Website.