Adweknow: Webbe, the company you created, joined Pixagility a few months ago. What is your activity and how is it complementary to Pixagility’s?
Anatole Begouen: Webbe has developed major clients’ VOD, SVOD editorial animation. And today, it has become the new media branch of Pixagility. It is an activity that aims to maximize audience and consumer engagement. By multiplying by 5 or 10 the audience of our customers’ boutiques we significantly increase their revenues. This activity is developing very quickly and is very complementary to the historical activity of Pixagility because we rely on Pixagility as a tool: flexible and proprietary infrastructures.
For the first time, we are thus offering an integrated offer for the technical processing and editorial animation of VOD and Catch-up TV offers.
Who are your main customers?
In France we are in charge of around forty catch-up TV services, including the premium replay for sports channels such as SFR Sport which is becoming RMC Sport at the beginning of July 2018, BFM Sport, beIN Sport, La chaîne L’Equipe, France TV…
These major clients have chosen us because we share a true vision of what tomorrow’s Catch-up TV services should be like for publishers and we are able to implement enriched replay, premium replay today.
How do you define premium replay?
Premium replay is based on three axes.
The first pillar is responsiveness: we implement the means to guarantee the shortest time between the TV broadcast of the program and its availability on Catch-up. Today there are still programmes which are published the day after or two days after the broadcast. The lack of reactivity can be very penalizing when, for example, a news programme takes 48 or 72 hours to be available for replay. We work with information or sports channels for which this is a must.
The second pillar is editorial enrichment: In football matches we do clipping, we enrich the content with metadata written by journalists at the very moment the programme is broadcasted. Thanks to Pixagility’s tools, we can encode the file at the end of the broadcast and automatically send it to the various operators – any time of the day or evening – which speeds up the process even further.
Today, Catch-up service is an integral part of audience measurement and tools must be implemented to improve consumption. The more a programme is cut out and accompanied by relevant descriptions, the more likely it is to appeal to the public. The quality of the visual is also very important and we are brought to manufacture certain visuals from scratch so that they are more striking or correspond better to the desired format.
What is the third pillar of a premium replay offer?
The third pillar is the editorial animation of the service.
As I said, the central question is: “How can you improve your replay audience?
The editorial animation aims to provide viewers not only with information on the availability and nature of the programme but also where it will be available.
Moreover, the editorial animation consists in respecting as much as possible the marketing and editorial events of the channels and to highlight the same contents as those promoted on air. If a channel does special programming for Mother’s Day, we make the link between the operator and the TV channel’s management, respecting the channel’s strongest programmes. For the 2018 Football World Cup, for example, we have set up special facilities for our clients BeIN Sports, la chaîne l¹Equipe, SFR sport, which cover not only matches but also the entire editorial system (broadcasts, post-match comments, magazines, backstage results, etc.).
Does this service only concern TV channels?
No. We also act for VOD/SVOD services because the programs delivered to us often do not have any metadata (keywords) or visuals. And the program cannot be sent to the operators’ platforms if it does not contain those informations.
We also work with producers who do not necessarily have the means to illustrate their programmes. In this case, we rely on our specialized graphic design service dedicated to editorial enrichment.
How do you see your business developing in Africa?
We have started to develop the same services for Pixafrica: online video consumption is already well established, and VOD via operator is becoming more and more popular. For example, we already work for the pan-African channel EDAN or for the channels of the Al Shanah group “Passions TV” and “Savanah”. We also offer our social network animation services, for example by making trailers or barkers available in the proper formats.
Why do TV channels have an interest in outsourcing this service and entrusting it to you?
In fact, TV channels often have neither the internal skills nor the desire to develop this digital activity because most of their concerns are often directed towards live, on-air events or programme acquisition. Moreover, operators are so demanding in terms of quality and responsiveness that channels prefer to rely on an outside company that guarantees them this quality of service. We offer a solution that costs them less than if they developed it in-house, but we remain very close to our customers who often have the impression that we are an internal service.
Source : https://adweknow.com