With experience in the digital world after being CEO of the successful Brazilian MCN, Porta dos Fundos for a year, in 2016 Juliana Algarañaz began a transformation at Endemol Shine Brazil that makes the multinational company’s Brazilian affiliate an international case study.
This is why Endemol Shine Brazil was a protagonist at the first Production Summit organized by Natpe this Monday as part of the LA Screenings, with a presentation by Algarañaz explaining the changes introduced by the company.
To find out more about the case, ttvnews spoke to the CEO of Endemol Shine Brazil, who explained the new strategy that began in 2016.
“In 2016 at Endemol Shine Brazil we started to understand the barriers we had to overcome to eliminate the idea that content had to be dominated by a single platform,” she said.
“And our way of thinking today is a bit millennial: we like to be where we want to be, and we want our content there,” she added.
Since the 2015-16 edition of MasterChef Brazil, the company introduced a change under which its content had to be present on multiple platforms. “We generated a strategy based on what our brands’ heavy users told us and demanded, and that they even did themselves by uploading our content, instead of us telling them where to consume them,” she said.
“We completely restructured MasterChef Brazil. We had a strong brand and a market that likes to consume content on all these platforms, and we concluded that they didn’t canibalize each other. So we chose to share part of the business, rather than be stuck to one platform. It’s better to have 50% of a million than 100% of 10,000,” she said.
“The Brazilian market is very big and underestimating that money would be naive, because the ad revenue was getting cut. Clients needed to divide the money among digital and TV began to suffer from it, and in the end content could be on every platform. It was a process, we did ti and we tested it, and we saw what audiences demanded from us,” she added.
MasterChef Brazil can now be watched both on Bandeirantes and on Discovery Home and Health, as well as on the digital arena through different formats.
“It worked for everyone, everyone wanted to have the brand, with different ages and different consumption times,” she explained.
In fact since 2016, the revenue generated by MasterChef Brazil grew 39.6%. And YouTube views grew 110% in 2018 alone, where it also reached a younger demo than its TV audience.
“We understood that in this new way of consuming content, what matters is consuming. And then we figure out how to make money. So we deliver fun content, short, long, the whole show, specials... and we create a life and an ecosystem for the brand,” she said.
The success was such that it led to the creation of a spin-off show in the franchise called MasterChef Para Tudo, which uses the content generated online and takes it to the TV screen. It also started a model that is now the norm for Endemol Shine Brazil.
“Today, no project comes out of Endemol Shine Brazil if it doesnt have an ecosystem created. We know what we’ll be doing before it premieres and after it’s on the air,” she said.
All this was joined by the creation of a licensing division, a digital division and a commercial division, solely to speak to agencies and clients, which was added to the traditional content commercial department.
A Branded Content for Skoll Exclusive to Facebook
Another one of the lessons learned by Endemol was how to make the most of each platform and what type of audience uses each one. To this end, they offer custom solutions for brands that are devoted for Twitter or YouTube or Facebook, according to their target audiences.
And in regard to Facebook, the executive said Endemol Shine Brazil is a “Special Partner” of their video platform, an alliance that gives them a competitive advantage.
“Facebook is a platform we were still trying to figure out, because it didn’t make money yet. Facebook understood it needed to monetize to attract good content and a year ago our team signed a deal to become a Special Partner and that gives us a competitive edge,” she said.
“Facebook called us to develop content together in Brazil. So we started with trial and error and it led to a specific branded content for Facebook. We are creating a telenovela for a beer company. It’s 3-minute episodes, 20 in total, which will air three times a week and have an open ending, determined by users’ reactions,” she concluded.