Audiences, producers, broadcasters, platforms, and advertisers have adapted to new scenarios and needs as the audiovisual industry continues to evolve. Branded content has emerged as a robust, long-term solution in that context. "People are starting to respect the concept of branded content," Carlotta Rossi Spencer, Head of Branded Entertainment Business Development at Banijay, asserted. "For years, the attitude was that if it's branded, it doesn't meet the standards of a good production. Now, we're in a situation where we, along with other players in the United States and Europe, are making great shows. I always say we're talking about entertainment made for and with brands, so the keyword is still entertainment," she explained.
The industry's economic challenges are forcing producers to create premium content on tighter budgets, which can feel like performing magic. "When there is limited investment available for content, the power of research and insights (which we analyze using various methodologies) helps bring to life content that truly contributes to culture and transcends generations," Devina Seth, Brand Partnerships Director at BBC Studios Digital Brands, said. "High-quality brand partnerships that result in custom assets tailored to each platform help generate the best user experience, creating impactful and evergreen relationships between a brand and its audience. That safeguards the brand image, which is of utmost value and supersedes its association with a single product or service that usually has a limited shelf life," she added.
Devina Seth also explained that with any campaign, it is essential to identify that there are two potential sets of audiences to explore across both partner portfolios: the core groups (loyalists of the brands) and the broad groups (potential loyalists) that can be identified through interest, behaviors, attitudes, and demographics. "It's important to ingest the data and approach it as a common source to avoid anomalies. Once the campaign is actioned, the expectation is that the existing loyalists will engage with the content because the content is of genuine value to them. In the broad audience category, based on interaction with the content, we can confirm a new audience base and refine the broad targeting so there is minimum wastage from a distribution POV, and we are only exposing audiences who are truly interested in what we have created," she stated.
"The dynamic of interconnected brand budgets and production budgets, particularly in more ambitious projects, is becoming more common, both in scripted and unscripted content," Roberta Zamboni, Global Head of Branded Content & Sponsorship at Fremantle, commented. She highlighted the importance of maintaining creative freedom for the production team while ensuring the brand also benefits from authentic integration. "Brands benefit from being authentically integrated into content that resonates with audiences, offering a more engaging and impactful form of advertising than traditional spots," she noted. Zamboni also explained that the mentioned integration creates opportunities for innovative storytelling, as brands often provide unique resources, locations, or expertise that can enhance the narrative. "Ultimately, branded content not only fills the financial gap but also adds strategic value, ensuring that high-quality productions continue to thrive in a competitive media landscape," she added.
Bhavit Chandrani, Director of BE Studio at ITV, mentioned they are still investing significantly in commissioning programming. "Branded content, or ad-funded entertainment, can really help us add value to this investment. We can work with advertisers to develop shows that support their marketing ambitions and objectives while also delivering compelling entertainment for our audiences," he explained.
BRAND-FUNDED CONTENT
Brand-funded content allows broadcasters and digital streamers to reach new audiences innovatively. "Investment in engaging and impactful content creates credibility for the brand and helps foster deeper connections with existing and new audiences," Seth said. She also explained that this model encourages brands to listen to their audience, cater to their interests, and build a sense of community and loyalty around the brand. Zamboni agreed, stating that branded content offers a more organic approach to reaching new audiences by embedding the brand message within storytelling that resonates with active viewers. "Instead of relying on traditional advertising, which many audiences, especially younger generations, tend to skip or ignore, branded content integrates the brand into the narrative in a more seamless and engaging way," she described. Chandrani also emphasized that ITV, through the launch of ITVX, has been able to take creative risks in its approach, allowing it to commission shows they wouldn't have pursued traditionally.
Last year, Beyond Productions, a Banijay company, presented a documentary titled "Mind Games – The Experiment," commissioned by the international sportswear brand ASICS. The production was an editorially driven, impartial, and unbranded film, and Rossi Spencer pointed out that it's hard to realize a brand commissioned it. The company also developed a branded solution for "The Secret Life of 4-Year-Olds", a UK show that was highly successful on Channel 4 Linear. Alongside Channel 4's digital commissioning team, Banijay produced digital content pieces for different platforms. "It allows Channel 4 to bring back something that was already successful for them, and it gives a CMO the ability to say, 'I recognize this title, and I know I can bring my values back with it,'" Rossi described. In Portugal, the company launched "Mistura Beirão," a talent show for cocktail makers in partnership with the premium Portuguese liqueur Licor Beirão and broadcaster TVI. Additionally, in Italy, Banijay is producing the second season of "Maître Chocolatier – Talenti in Sfida" in collaboration with Lindt & Sprüngli Spa for Sky Italia's free-to-air channel TV8.
BBC Studios Digital Brands has developed the commercial YouTube channel of TopGear, where audiences can find the best clips from their favorite episodes, such as "Ad Feature: How Audi Won The Iconic Dakar Rally." Cupra UK and BBC TopGear have also collaborated on a series of advertisement features on the TopGear website, with their latest feature showcasing the new limited edition Cupra Formentor VZN. BBC Studios Digital Brands also produced the BBC's new documentary series "Arts in Motion" in partnership with Rolex, which profiles South Korean opera star SeokJong Baek, one of the world's top young tenors.
ITV's "Sessions," in partnership with O2, is another excellent example of branded content. "Live music is a bit of a departure for ITV, so we were delighted to work with O2 to bring this show to life," Chandrani noted. Other notable examples include "Dress the Nation" with Marks & Spencer, a hunt for Britain's best amateur fashion designer, and "Champions: Full Gallop" with Paddy Power, a high-octane documentary following a season of British horse racing.
The most recent collaboration involving Fremantle is the film "Maria" by Pablo Larraín, produced by Fabula, The Apartment (a Fremantle company), and Komplizen Film. "We integrated a brand that the protagonist genuinely loved, Fernet Branca, into the storytelling in a way that felt authentic and natural," Zamboni explained. According to legend, Maria Callas drank the Italian liqueur before performing on stage to soothe her voice, making her one of the first endorsers of mass-consumption brands. "In the film, this story within the story is told subtly and delicately, as only a great director would," she added.
Related News
