重庆时时彩遗漏技巧买法

“We were used to sitting down on a Sunday night and watching three ageing men present a car show, but there wasn’t really a Top Gear for the Facebook generation, ” says Adnan Ebrahim. He didn’t put up with this state of affairs: he co-founded Car Throttle, an online community for young petrolheads, spawning a YouTube channel that now has nearly 1.2 million subscribers.Ebrahim is part of a mini-wave of British online video brands (BritVid brands, if you like) that are rethinking some of traditional TV’s big genres. Jamie Spafford is co-founder of SortedFood, which also combines a web community (and app) with a growing YouTube channel that has 1.6 million subscribers. James Kirkham, meanwhile, left ad agency Leo Burnett in February to join Bigballs Media as boss of its Copa90 football channel (1.2 million subscribers).These companies are far from the scale of a PewDiePie, with his 46 million plus subscribers, but they are all building businesses on YouTube – and beyond.“Five to six years ago, you could just do YouTube and that was all right,” says Spafford. “But now, with the development of other platforms, whether it’s Facebook, Snapchat, Instagram, Twitter: they’re all getting into video, and you can’t stick just to YouTube. You have to be where the audience is, and the audience is everywhere.”The three channels may focus on different interests, but they share a desire to shun the cliches of their genres on broadcast TV in favour of a style that holds up a mirror to their youthful online audiences.“We’ve taken it completely away from a celebrity chef telling you ‘this is the exact way you cook a lasagne’. Actually, there are 2 million people around the world with different opinions on how to cook a lasagne, and no one’s right or wrong,” says Spafford.“The way football has been presented on TV has been the same, basically, back to the 1960s: a bunch of suits sat in a studio, pontificating about the game,” says Kirkham of Copa90, which has (unavoidably, given the costs) focused on fan culture rather than chasing match rights.“As soon as any of us starts ‘presenting’ to camera, we stop and say ‘what are you doing?’ You should be just talking to your mates,” says Spafford.YouTubers hit mainstream as digital media become top choice for new talent Read moreAll three channels are eagerly exploring platforms beyond YouTube: particularly Facebook – especially its recently launched Facebook Live tool for broadcasting live – and Snapchat.Kirkham compares the current digital ecosystem to the “nursery slopes” of traditional TV, where a comedy might start out as a radio show, then transfer to BBC3, BBC2 and then specials and live shows.For the likes of Copa90, SortedFood and Car Throttle, the equivalent is testing a new idea or talent in short-form videos on Snapchat or Instagram, before developing it for standalone shows on YouTube or live broadcasts on Facebook.“You can do a one-minute teaser and see how that performs, and then if it does really well, roll it into something bigger,” says Ebrahim. “You can allow talent to breathe in different places and accumulate audience,” adds Kirkham.These audiences are taking an almost developmental role with new talent and formats, which in the TV world would have been done by broadcasters. “It sounds cliched, but we’ve got 2 million commissioners,” says Spafford.Challenges in the area include reacting to changes in the recommendation algorithms of YouTube, Facebook and other services, which may without warning reduce the reach of certain kinds of videos or content.“With Facebook, my God, it changes every week. Midway through Euro 2016 the algorithm clearly altered massively in favour of Facebook Live – live video streaming,” says Kirkham.“In a year’s time, we’re going to be doing something different and none of us knows what that’s going to be, because we are beholden to the platforms where we are and where we make our money,” agrees Ebrahim. “It’s just part of doing business: the people who are quickest to move, and creative enough to take advantage of those changes, will always win.”Where are channels like Copa90, SortedFood重庆时时彩遗漏技巧买法 and Car Throttle making their money? Mainly from brand partnerships. Ebrahim says that 80% of his company’s revenue is now branded content, while Spafford says “the large majority” of SortedFood’s comes from this source, despite its policy of refusing deals with food and drink brands.Despite their dislike for the TV cliches of their genres, all three channels see potential for partnerships with traditional broadcasters. Copa90 recently made a series called The Fans Daily for ITV during Euro 2016, with Kirkham praising it as a true co-branded deal.There are also opportunities emerging to pitch original shows to video-streaming services such as Netflix, as well as to explore some new frontiers for media distribution, like chatbots within messaging apps.“I’m big on messaging at the moment. I think that what’s going on in the far east with [messaging app] WeChat, where you donate to charity, order your Uber and pay for a pizza without even leaving your messaging ecosystem,” says Kirkham, “I think it is rapidly going to look a bit like that here.”Copa90 and Car Throttle have both experimented with chatbots for Facebook Messenger and Telegram respectively.“You’ve got to be where the audience is,” says Spafford. “If you know your audience is somewhere, you can put something up, tell people about it, and if it gains some traction, that’s when you start running with it.”“The world of media is changing so quickly, not just for us, but for the established legacy publishers,” says Ebrahim. “We have to take a lot of risks, with technologies like AI and VR coming up as well. Things are going to change so quickly, but so long as we’re agile, we will make sure that it works.”