Digitalmedia companies, like people, evolve in many ways over a five-year period.
Executivesat multichannel proponent Fullscreen — owned by Otter Media, a joint venture ofAT&T Inc. and TheChernin Group — informed media buyers at its May 9 newfront presentation thatit has changed its name to Fullscreen Media as part of its ongoing evolution.
FullscreenCreator Network will provide services to creators on ’s YouTube and otherplatforms to develop programming and expand viewership and distribution;Fullscreen Entertainment will focus on reaching social-first consumers viacreator-driven experiences from video-on-demand services Rooster Teeth andFullscreen, which premiered last month, as well as Fullscreen Live, theunit scheduled to produce 250 in-person events this year.
FullscreenBrandworks, meanwhile, is composed of a team of content creators and marketerscharged with developing branded social content that is distributed acrossvaried platforms and social networks
“Weplaced a big bet early on that creators would become media channels in theirown right,” said founder and CEO George Strompolos. “Today, we stand as anext-generation media company transforming the way people watch and engage withcontent, serving creators, consumers and brands that share this vision.”
Duringthe newfront event, featuring the tagline “People are the New Media,”Fullscreen Media executives described a number of ways how brands could link tothe company’s content creators.
Eva Gutowski at Fullscreen Media’s 2016 newfront.
Source: Fullscreen Media
Thatincluded “All Star Collabs,” a new initiative enabling brands to integrate intopremium content from top creators with large followings. One of the first twoprograms is Eva Gutowski’s “How to Survive High School,” which during its firstseason scored more than 36 million views. Gutowski, who dispenses advice in acomedic fashion on some of the best ways to navigate those trying years, countssome 11 million social followers.
DevinSupertramp’s “Around the World in Seven Stunts” from the thrill-seekingcinematographer is also available for sponsorship. The professional,action-adventurist generates 16.4 million monthly views and has a social reachof 5.4 million.
“Iwant to be clear: This is not a build-to-order series,” said Maureen Polo,senior vice president of influencer marketing. “These are meant to be a truecollaboration.”
Polosaid two additional “All Star Collab” series will be announced in the fourthquarter.
Thecompany is also making its move into virtual reality and brands are invited tocome along for the ride. Burnie Burns, Rooster Teeth’s founder and chiefcreative officer, said that the hosts of the “Immersion” series, for instance,were trying to recreate elements of video games in real life, with the resultsbeing captured in 360-degree video.
Inrecognition that its millennial audience is moving into parenting and familylife, the company is rolling out “Part of the Family,” a new community-driveninfluencer program built around six families sharing their experiences andlooking to resonate with viewers who are in the same life stages.
“Wehaven’t really seen a brand jump in and be part of this community in ameaningful way, at scale,” said Billy Parks, Fullscreen Brandworks vicepresident of original entertainment.
Further,Fullscreen Brandworks has steered a deal with more parents and their progeny inmind, inking a pact for “The Hot Wheels Network” allowing Mattel to build buzzaround and inspire usage of the toy line in new ways.
Italso announced HerScreen and HisScreen, which aggregate the top 50 female- andmale-led creator channels in a way that mirrors primetime programming. Some ofthe leading female-aimed channels come from Andrea Russett, Grace Helbig, and Gutowski,while the male fare emanates from the Fine Brothers Entertainment, RoosterTeeth and the aforementioned, daredevil Supertramp.
TheHerScreen creators deliver some 14 million views per week, akin to otherfemale-targeted TV shows, while HisScreen reaches millennial men thatproperties like the Sugar Bowl, NBA All-Star Game, “The Walking Dead” and “ThePeople vs. O.J. Simpson,” cannot, according to Fullscreen Media.
KevinMcGurn, head of sales, who during the presentation called the offerings the“perfect combination of quality and quantity,” said they will be optimized forunique reach and viewability, with guarantees through
Afterthe presentation, McGurn said that with its YouTube content creators Fullscreenhas exercised the first-position media rights on those channels.
“Wedidn’t necessarily look to the absolute top ones in terms of total viewership,but to those with rich concentrations of demographics,” he said, likening it tothe way that many TV programs skew decidedly female or male. “That’s the waybuyers are used to engaging with media.”
McGurnsaid the offerings reach various groups, 12 to 17, 18 to 24, 18 to 34, 18 to 49and 25 to 54, though he noted the channels vary by concentration levels. Hesaid that while Fullscreen fare holds wide appeal among millennials overall,“just like television, we can reach different audiences.”
Strompolos,meanwhile, gave an early progress report on SVOD service Fullscreen that bowedon April 26, Although he did not disclose take rates, Strompolos saidsubscribers are spending an average of 48 minutes a day with the $4.99 servicethat proffers 1,000 hours of content monthly, including original shows like“Electra Woman and Dyna Girl,” starring Helbig and Hannah Hart, as well astheatricals and library series like “Buffy the Vampire Slayer,” “Out There,”“Dawson's Creek” and “Saved by the Bell.”
“Wewant to work with brands in this exciting new environment,” he said. “We justneed to make sure that we create real value.”
Afterward,McGurn assured that “traditional, interruptive ads would not be part of theservice,” but said there are sponsorable elements available for its navigation,as well as “integration opportunities into the actual content.”