Cinco Cine

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“What is clear,” Hoey says, “is that there are a lot more ways and places to market online content [than there are for a TV broadcast]. It needs to be done by the producer, and it needs to be a line item in the budget.”

Hoey believes that the changes to content funding strategies, and to platforms themselves, are and will continue to be driven by changing viewing habits – and that will mean content genuinely is king. She also believes that, when that happens, producers will have greater control of their output and greater opportunities to finance content that might not fly in a broadcast environment.

Immediately, she’s focused on wrapping production of Pūkana for this year, and planning the company’s activity in 2017: how to prepare for the changes to funding strategy and how to keep existing shows like Pūkana as relevant and engaging as possible for its audience.

And how to do all that while maintaining Cinco Cine’s commitments, to capacity building, new talent, and normalising use of te reo Māori.

 
 
 
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Written by Keith Barclay

Keith is the editor of SCREENZ, and the co-creator and founding editor of CREWED.

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