How Digital-First Studios Are Rewriting the Rules | Live from TellyCast Digital Content Forum 2025

Factual isn’t standing still - and this panel proves it. Recorded live at the TellyCast Digital Content Forum, this conversation digs into how the factual genre is being rebuilt for a digital-first world. Lucy Smith hosts a sharp, unsentimental discussion with Gerrit Kemming (Quintus Studios), Marvyn Benoit (Baker’s Dozen Studios) and Jamie McDonald (After Party Studios) about who really owns value in today’s market: the audience-holders or the IP-holders.

They unpack how social video has reshaped commissioning logic, why audience ownership is now the most powerful currency in factual, and how creators are becoming new-age broadcasters. The panel gets into hybrid funding models, co-ownership of IP, rapid-cycle development, YouTube economics, CPM realities, danger-led factual, testing formats on social platforms, and the rise of patchwork financing. This is a clear-eyed look at the future: faster turnarounds, collaborative models, creator-talent partnerships, and a factual economy where anyone with audience can commission.

If you want to understand where factual formats are heading - and how digital-first production companies are finding new routes to money, scale and global reach - this session is required listening.

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Transcript

Speaker: [00:00:00] Hi, I'm Justin Crosby and welcome to another TellyCast. We're taking another look back at the digital content forum this week with a replay of the Factual Futures panel, which discussed why earning an audience can unlock whole new funding models. What genres actually make money and how brands and institutions are becoming co-funders.

The panel was moderated by Lucy Smith from Fawkes Digital. I hope you enjoy the show.

Speaker 2: So film your documentary on an iPhone. Put it on YouTube and make loads of money. Yeah. Uh, is it that simple? I am Lucy Smith, founder of Forgs Digital, here to steer a discussion around the evolution of factual content and formats in the digital sphere. And I'm joined by Titans in the genre, Garrett Hemming, founder and MD of Channel Operator, digital distributor, and Commissioner Quinta Studios.

We have Marvin Benoit, former commissioning editor [00:01:00] at Sky Originals and Creative Executive for YouTube Originals, and now founder of Baker's Dozen Studios. Um, and we have Jamie McDonald development, Don Spearheading format development as head of originals at After Party Studios. So applause evening. So we all know it is not quite as simple as just click and upload and then rolling in the Benjamins.

So, um, I'm here to like elucidate some of the myths. It'd be good to get the experts, some experts opinions on this. So, Gary, at Quintus, you've spent years growing and. Audience on your YouTube channel, and I think this is a theme that we wanna touch on throughout the conversation is that like, what is, who delivers value here?

Is it people who own audience or people who own ip? How do those two worlds interact? Um, so you are serving them with both acquired and Quintus original F content on your channels. Why is owning an audience so crucial to your business model? 

Speaker 3: Uh, it probably depends on what you are, what you [00:02:00] wanna do. You can make money by food.

You can make money by owning, uh, by, by being a channel or being a distribution company. We decided to be all of it. Um. Because, well, it's probably the question where we come from. We come from being a distributor and working in traditional television. And for, um, a long time we were also in the business of financing productions, like linear productions and especially documentary series.

And we did this by, by going out there with paper, paper pitches and finding pre-sale money, you, you need like. 5, 5, 6, 7 years ago, you needed like three, four partners to be really able to fund the program that way. And then say from two 20 on, uh, it just took so long to get like four people on board or four companies on board.

Um, and well, it became more or less impossible to do so because. When you had number three or four, uh, in the deal, number one was [00:03:00] already either, uh, merging with somebody else or budget freeze or out of the game or whatever. So we decided. We not decided, but we recognized our own channel in the meantime grew so much that we can replace one or two or maybe even three of them.

Um, and that was a lot more fun game because we were, you know, we could decide ourselves what we wanna do. And, um, yeah, that's why I think it's, for us, it was very important that we. We had our own audience or still have it because we can't simply run our own machine without being dependent on other players.

Speaker 2: And so your audience becomes your main revenue driver, of course, in that sense. Um, I mean, Marvin, as a production studio, you are coming at it from obviously a very different angle. Um, you partner with creators and digital channels to get your new IP in front of their audiences. So would you say creators are the new broadcasters?

And if so, how do you get your shows on their channels? 

Speaker 4: Yeah, I, as you said, you know, I come from it from a different background. Uh, you know, tradition, tradition, [00:04:00] traditional, uh, tv. You'd go to a commissioner, you'd pitch an idea if they liked it, they'd invest in it, and then you'd see it on TV on your screens, which we've made it, I guess, when the strategy turns to bigger, fewer better because the scale and the ambition of those ideas have to compete with, you know, the global big series, like, you know.

Um, the shows that you might see, you know, are Squid, squid games, the, the Game Show. You know, that obviously is a huge show that takes so much resources, and so how many shows of the, how many, how many of those shows can, um, a channel for or BBC, do over the year? So those opportunities to try out new formats become far and fewer between, so.

I think the online community, uh, there's, there's an opportunity there to connect to audiences who are underserved on traditional TV and those communities, those, those audiences are completely engaged with those creators. And, you know, those creators don't want to lose ip, they [00:05:00] don't want to lose the opportunity and the audience that they've made.

So, but they're, they're screaming for ideas. They're screaming for, um, you know, ambitious ideas and innovation. And I feel like that's an opportunity to. Use my skills in coming up with ideas that I would do for a Netflix or BBC and trying to work with, you know, broadcasters that are willing to invest on these platforms and working with creators who want to talk to the global majority.

Speaker 2: Yeah, I mean that, that feeds into my next question actually for Jamie, which is like, if creators are coming up with their own ideas all the time and are creating their own format already, like what is the point of a production company? 

Speaker 5: Fair enough. Uh, family fair. There is none. Yeah. Uh, that is, uh, that is a fair, that is a fair question.

Uh, well, I guess obviously not all creators are created equal in that sense. And it's like, uh, you know, when you, when you are talking about some of the biggest ones in the game. Eg. The Sidemen, [00:06:00] like we are, we do work with 'em as a production company 'cause we bring expertise in certain things. For example, the Sideman match, we've been the production partner for the past four years, is something that we do very well.

And as, uh, Victor was saying earlier, it's not necessarily something they do. So, so they bring us in, in, uh, in that sense. And it's sort of horses courses. It's um, there are lots of creators who want to do stuff on their channel forever and ever are men and want to do it alone. And like fair enough, they're not invited.

To our Christmas party sort of idea. But there are many out there who maybe want to pivot, do something slightly different, want to do something bigger. Lots of them, very few of them I would argue are one man bands like smaller ones for sure. They do have one or two people, lots of them. But if they're wanting to do a bigger show, then.

Often they are coming to a production company for your expertise, or we have the piece of ip like sharing ip like we announced a show with, uh, at MIP that we are splitting with a, uh, that we're working with one of the UK's biggest talents, uh, Nella. [00:07:00] Uh, that is an idea where it's like, you know, two parties coming together to, you know, make yourself bigger than the sum of your parts would be our argument, whether they agree.

That is obviously a different killer fish. 

Speaker 2: Well, splitting IP is obviously a massive part of that, and if it's okay just to throw to you guys, um, and talk a little bit about that, like with, with new business models and people thinking about how to get new format IP commissioned and out in front of audiences, like, is it more important than ever to think about splitting IP in imaginative ways?

Marvin, maybe you could speak to that. I mean, 

Speaker 4: me and Jamian after party have split ip. Mm. So we, we've created Don't Get Catfish, which is on 4.0 and it's been a great. Uh, collaboration of using in the innovation of like the experience that you guys have in wealth of working with creators and, and the, and the productions and the way we, the, the speed of which we are listening to the audience and collaborating, and I'm bringing in my experience working in broadcast and it's a beautiful thing.

It feels like what we're doing feels fresh and, uh, the audience of responding as well. They're like [00:08:00] engaged and they're, they're seeing the, the work that we put in. They, they're seeing that the format feels different to what they're used to, but still feels, I hate the word, um, uh. Localization. But when I say localization, what I really mean, it's not just about like changing language, it's about a culture.

It's about like cut cuts and the way it looks, it feels like it belongs on that channel and it's for that audience and they accept it and there's a real time reaction to it. And that's important. You know, I think there's something that actually all broadcasters can take note of and say, actually we should be playing in this field.

Speaker 2: Mm. Well, it's also, yeah, as an industry, I'm sure everyone here talking to everyone is getting a sense of that just collaborative energy that seems to be infusing this sector as is growing. And I think that definitely feeds into the tone of the content, which feels optimistic and fun and playful, um, you know, both behind the camera and in front as well.

I mean, Garrett, obviously you, you commission new content as well, like do you have interesting models where you are splitting IP with the people you're working with? 

Speaker 3: Yeah, splitting IP is a bit a difficult game for us because we are from Germany, and you [00:09:00] might've heard that there is some bureaucracy problems sometimes in Germany.

Um, so that means splitting IP is really difficult because you would need to set up your own like complete company and asset for each co-production that you would do, that you do where you split ip. But what we do is. That we work in different ways with producers together. So what we usually do is, um, so Adam or creative director sitting somewhere in the audience, oh, there he is.

And so he, he built up this amazing cool of like really talented and highly skilled, uh, filmmakers and, and, and VJs that are all over the planet. And they know what's working for us or what kind of topic buckets. And whenever they have access to a story that they think would fit for us, they reach out to Adam.

Adam says, yes, let's go for it. And then what we do is we usually. Cover their real hard cost so that there is no margin. There is no, no, like. Camera equipment that they put that they own, but put in the, in the calculation. So that's not what we could do. But what we do is we offer our channel [00:10:00] network and the, the potential of, of generating money, same for our line and, and, and, um, and digital global distribution.

And of all money that we make, we give up to 25% cut to the police. 

Speaker 2: That's the power of owning the audience, right? Because then you have that, you have that option going forward. Um, I mean, actually talk, talking about the money. I mean, we all wanna make money, right? Um, you know, as individuals, as companies, that's how, how we grow this industry.

Um, you know, Garrett, you are creators, publishers, commissioners. What factual genres make the most money for you and why? 

Speaker 3: Um, well, good question. Uh, so I shouldn't know my data. Uh, well, I mean the, so, um, it's, so the, the how you make money is actually on the one hand, the reach of course, but then also, um, where in which territories you have what kind of reach, right?

Because that determines again, the CPM, uh, like. If you, if you have a big audience in the US you make a lot more money. Or if you have a small [00:11:00] audience in the US you make more money than having a big audience in the Philippines, for example. Right. So it depends on which genre is work where, but I think for us, uh, what is definitely one that works well is engineering, for example.

Mm-hmm. Nature is a good one. And then just because of, of the, of the, the vast interest, it's always what we call a danger porn, which is like gangs and beckons and drugs and, and tough neighborhoods and that kind of stuff. Yeah. So different KPIs that come together to make it, to make it successful. 

Speaker 2: I think it was interesting as well thinking about AI and the discussions we've heard today, like how those danger porn stories, like they're, they're quite difficult to tell with ai if you're getting into real people's hives and that real jeopardy, like so do you, you are quite confident that that will stay people holding cameras for Arla 

Speaker 3: after seeing the, the session.

This afternoon, I'm con, I'm not confident of anything anymore. 

Speaker 2: Yeah, well, you could have doing whatever dangerous things you want, no health and safety involved. No, 

Speaker 3: you can, you can be prompted. I mean, it's maybe even good for production people. 

Speaker 2: No. [00:12:00] It's interesting as well. 'cause obviously you've got your, you've got your channels, you've got your factual genres that perform really well, but also your commissioning formats, right?

It's a new game you, you've been experimenting with over the last few years. And, um, I know that one format in particular, um, the Green Deal is really interesting. One to talk about is like a flavor of Dragons den, uh, for sustainable business. Like how do you intend to grow this series? How did you go about getting it funded and, and kind of what's the long term vision for a format like that, how you've exploited it?

Speaker 3: Yeah. In the end, the, the currency is always reach, right? If you have vast reach, then you will be able to monetize it. And so the question is how do you get the vast reach? And in this case, it's, and we heard a lot about this today, it's bringing together big creators with their existing audiences and find a model that works for the show that you do, but also for each creator and for their audiences, right?

And if you do the right mix. Bring them together. Then, uh, in this case together with, uh, a German, like DBU, which is a German, it's a, um, how you say, like [00:13:00] government, governmental, uh, institution that funds, uh, sustainable stuff. Um. In combination with that, then brands will be highly interested or are highly interested in, in the show, 

Speaker 2: finding pots of money.

Guys just find pots of money everywhere. Yeah. 

Speaker 3: Yeah. That, I think that is the learning from the last five, 10 years. Right. It's not, as you said, it's not like going to a broadcaster get the money, produce it anymore is like. Co-producing, selling afterwards. Third window. Second window, O own audience. Finding brands that funded, finding institutions that funded.

So it is it, that is the exciting thing, but, 

Speaker 5: uh, that, that's literally our job. No, it is like, uh, I think it, I, we were, had been chatting yesterday over above a very nice coffee, uh, and it, and it's like frontier territories for that. It's like, uh. It's Darwinian, adapt or die, you gotta go find the money and know, I think that scares a lot of people.

But, and what we've talked about it quite, quite a bit. I think it's like super exciting time. [00:14:00] Like we bought a fully brand funded four part doc series to a, to a UK broadcaster, and they obviously, they're like, yes, happy days. We'll take that free show. Uh, and it's, but it's a digital play, so it's like this is, this is the future.

Mm. Like. The, the days of one funding, uh, TV is dead. It's, it's like film, I would argue of like patchwork financing. That's the future, which is, which is cool. It's like, it's not the end of the world. 

Speaker 2: Well, I think a kind of a bottleneck that a lot of traditional TV production companies had is once they pitched it to X number of broadcasters, X number of commissioner relationships, that kind of idea dies on a hard drive, doesn't it?

Sort of, you pack it away, move on to the next one. Whereas actually when you rethink a model to say anyone could be a commissioner, whether it's a brand or a toys and board, or. Or a governmental um, body, it kind of suddenly opens the playing field to getting things funded in really different, interesting ways.

Speaker 5: True. But the, the dangers I would argue for, like for certain brands or, or, or online, it's not like. It's not that online is where you get, like, [00:15:00] you go to the bottom of the drawer and pull out the dusty one and be like, no one had this. Do, do you fancy it? It's like the online audience in particular is like uber discerning.

So they will, they will smell a rat or, or shit format quick 

Speaker 3: and in the end it needs to convince the audience, right, if, if that, so it may be maybe dusty or not. But if you're confident that it will reach an audience, then you can maybe also find a way into it, producing it, getting it out there to whoever with creators or with a broadcaster or with a channel like us.

Mm-hmm. Or you know, going to Jamie and they help you. Then do it and then the money comes later. Right. That is different. It's of course more risky. It's, it's more you need to be brave and invest into something, but when you're convinced you, yeah. 

Speaker 4: I'm a believer in that, in the investment, you know, the CPMs are always changing.

The negotiation and the dialogue with these platforms are always changing. You only have to look at the record industry to see when it died and CDs stopped. There was conversations going on, and now they're happy how much money they're getting. I mean, the artists themselves have a conversation. But the truth of the matter [00:16:00] is, is there is money out there.

So just get it out there and be, you've gotta be in it to win it. No one wants the BB, C to become blockbusters. 

Speaker 2: Yeah, he, they're just now off. Um, but I think actually Marvin, it would be a great. Point to jump into this conversation about risk, right? And about who bears the burn of risk when it comes to, um, testing new formats.

And if you, as a production company, like so believe in an idea, so believe in a piece of ip, um, how do you use digital platforms to test and iterate new ip? Is it important to start thinking about our development process at like, as, as trialing IP on social media? Yeah. Platforms. 

Speaker 4: Look, we, we, we need to, I, I pitch ideas all the time.

Some get stolen, some people tell me no. The reality is, is I know that I trust my process. When you've got a good idea, if you believe in it, put your money where your mouth is. I invest in my own shows. I invest in my own tape. This is just an opportunity for us to say, do you know what? I'm gonna invest in it and I'm gonna pull it out and the audience are gonna tell me that.

It's great. And when that [00:17:00] audience, when you build that audience, when you can connect with an audience. You'll see the traction. People will start believing in something that exists because it's no longer in your brain and there's an audience that love it and they will connect to it. So I think it's just about taking innovation and taking that, I hate the word risk 'cause it sounds really, you know, but like, it's that golden pillow.

Like skys always talk about this, which was like content technology, innovation. Mm-hmm. And you know, and like at the moment. Online is where that's at, that's where it's happening. I feel like this is the community where we're taking risks, where we are trying new things and we dunno where it is, but you've gotta be in it to win it.

You know? Like if I had said Invest in Bitcoin 20 years ago, you probably wouldn't have done it, but now you'd be very happy if you did so. That's right. Yeah. So. 

Speaker 2: It's also, I guess it's a, it's a question of price as well, right? Because I think digital budgets, a lot of, um, people in the traditional TV space would look at digital budgets and kind of walk at them and go, ah, we can't possibly create a series for 10 K.

Um, but like, I think people have to be much more innovative in their fund, their, their production models to think, how can I make [00:18:00] something as an MVP format? Get it out in front of an audience, test it, iterate it, and then grow it into something potentially bigger budget. I mean, does that speak to your development processes and how you fund and, and get content in front of audiences or not?

Speaker 5: Well, I, I would argue not all online budgets, as in taking away streamers are small. There, there are some opportunities. Um, and we as a company be very fortunate to work with healthy budgets. So I I, things like that as a myth in, in, in some ways I would argue. Uh, but yeah, but then you're just changing your, your production bottle.

You know, it's, it's not quite like, you know, stack 'em high and sell 'em, sell 'em fast. But like in factual, uh, you know, we, I would arguably say yes, it's lower than some linear tariffs, but, uh, there, there is real ability to make. To make good money, but you are just doing it as a, at a much faster, uh, pace.

It's like, uh, the, um, um, spirit Studios gentlemen saying that that sort of eight week turnaround, it's like a catfish that, uh, Marvin and I are doing together. It's like we, we are doing that quick from commission [00:19:00] to, to shoot to EP one basically done. It's like six to eight, six to eight weeks. Um, we should both know that, but it's, uh, then, 

Speaker 2: then second series is commissioned before it even went out, right?

Yes, 

Speaker 5: that is true. Um, happy day is there. Um, but. Yeah, I think it, you we're just adapting, uh, uh, adapting with the times and like obviously AI is another kettle fish there that I'm not experienced enough to, uh, say enough in, I would argue. 

Speaker 3: Uh, also, I mean there, I mean, I agree that you guys are fortunate to.

To work on, on like significant budgets. But there is also, and that is the good thing right there, is the other way. If you don't get the budget from, from another player and you can still do it and, and YouTube is a place, for example, social in general is a place where it's not all about like being the.

Highest quality, shiny version of yourself, but maybe do it very authentic? Well, we heard about is authentic over, but, but I still believe it's like [00:20:00] there is a difference and you can do very authentic, very like basic production stuff that is really, that is really, um, successful and for us, for example. So we need to decide.

Which genres do we want to want to go in? We, we can't do on the budgets that we work on. We can't do like the big history of CGI, heavy kind of documentary, that's not possible. But access driven, where you can go like camera on your shoulder and you, the story is the, is the actual success thing then, then it works.

So you need to be smart in, in where you put your money. Mm-hmm. But there are 

Speaker 5: a lot of options. 'cause Gary, you're arguing that the online audience care less about the fluff. Factual What? Fluff As in the, uh, the shininess in, in the factual formats. The gar. Well, yeah. 

Speaker 3: Uh, yeah. I mean, that works. It works like the very shiny documentary works, but at the same time, there is a big audience for that story that you've never seen.

No matter if it's like GoPro produced or mobile produced, or. Like big [00:21:00] camera. Yeah. The, the, 

Speaker 4: the tools have democratized, democratized the point to entry. Yeah. And then people can experiment and take creativity from their bedrooms and gain huge audiences. And it's a very exciting time. 

Speaker 2: And it helps, helps you prove IP very quickly.

Right. It helps you prove it quickly and cheaply without having to rely on a massive budget and it didn't work. And then, well that's gone. Um, 

Speaker 5: the issue, them being breaking through. As, as there as, there was a lot of, there was a lot of, as we say, there's a lot of internet landfill of like, uh, stuff that's just piped out there.

And then you have to work out how you break through, which are the issue, which is obviously advantage for you, Garrett. Uh, holding, uh, having the taps of like being able to have the distribution platform. 

Speaker 3: Yeah. That's what we do a lot to, to, to produce a pilot, get it out there, get the data, does it work, does it not work?

And then have something to show also to broadcasting partners, for example. And then we do the series. But 

Speaker 2: I guess also that speaks to you, Jamie, talking about you, the show with Nella, right? It's like actually she owns an audience. You are working with her to get IP in front of her audience. So it's, it's thinking very creatively about how [00:22:00] you can access audience with your new ip and if that's partnering with the creator, that's just, you know, it's just a different type of channel, I guess, different 

Speaker 5: audience.

Yeah. It's like, uh, if you want to get an action movie fan, uh, you get Tom Cruise. It's like, uh, it, it's the same as for many years before. I guess the danger is though, that it. That audiences don't always port, I would argue. Mm. Uh, when you take a X person from YouTube onto somewhere else, like, uh, one needs to be careful about that.

Mm. Um, especially in factual, I'd argue, and it's like, uh, authenticity of the person, uh, doing what they're doing. If they're presenting a, you know, a oboc or something. Mm-hmm. It's like there was some talent who I would argue don't. Don't transition very well, uh, into that. 

Speaker 2: And I'm interested just kind of going back to the full monetization of stuff, right?

It's 'cause regardless of whether you've got a healthy budget or a small budget, like we don't just want our, our productions, our factual productions to live as one. Series that kind [00:23:00] of lives and dies and doesn't go on to do anything else like it. Would you say that digital, you have to think very differently about IP and quite imaginatively about IP in terms of taking punts at the beginning and seeing stuff grow.

Like for example, like Don't Get Catfish amazing show. Presumably you don't want it to just stay as one or two series on 4.0. Like do you want us to become a big global hit? Like what, how are you thinking about IP in a different way? And I think that goes for, for all of you, 

Speaker 4: I'm thinking about it quite differently in the sense that I'm like, well, what is that?

Show that with all the bells and whistles. And then how do I go backwards? How do I turn it into an idea that can be, um, made on a digital budget and like what are the, the parts of that show that could be the test bed for format? And I'm, I'm doing that constantly in terms of all my IP now in terms of figuring out what at the heart is the granular about this idea that I like.

And where would I love that trajectory to go? Like if it was to go onto Netflix, like we've seen pop the balloon, do now, you know, like how, how do you do that? What does it look like? Yeah. 

Speaker 5: Sound of Catfish on Netflix. Sounds good. Yeah. Isn't it? We should discuss [00:24:00] later. Um, but, uh, yeah, for us, I think it's like, uh, we're like any sort of, uh, production company, we, we are looking to take anything that we have and leverage it as in many, in every different way that we can, whether that be for a different platform in English language in Deutsche, uh, uh, elders aware.

It's like, um, for sure that is, that is a lot of my time and, and our CEO's, Josh, Josh's time going out and doing that and trying to push. Uh, the long tail, so to say, of our, of our content. 'cause as I said, there are big budgets, but all of them are big. And you know, it is a bit of a, it's a long term game in, in that sense, but I think factual is very good for it as opposed to potentially others, especially in sports.

And that's something we've talked about a bit. It's like sports is a real growth area, I would argue, uh, in factual. 

Speaker 2: We've got 30 seconds left. So I think we'll probably just round off with one final question, which is, um, you know, digital can feel like a game where no one really knows the rules, but you have to be in it to win it.

As Marvin said, like, [00:25:00] what is the risk for traditional broadcasters and factual production companies not playing in this space? Keep it really quick. We've got 10 seconds. 

Speaker 3: Oh. Uh, Ben, I need to think quickly, which is really difficult, uh, for me at least. Um, so I, I think they can. Uh, play their game. Go on with that.

But it gets smaller and smaller. So if you, they want to do so either they become the relevant set and they are happy with what they, what the leftover is, or they need to play the new game. 

Speaker 4: I mean, we're, we're seeing convergence. Ultimately we're like. People are agnostic in terms of like, whether they watch it on what platform with whether it's on your mobile phone or your, you know, your, the TV screen or a tablet.

But, um, I like the idea of like, collaborate or evaporate. Mm. Yeah. I like that. That's great. Wait, that's really you're choosing? 

Speaker 5: Yeah. Oh, I guess I see it like when they had the decision to go from black and white to color, it's like it's an obvious decision. They shall do it and they will evolve. Um, [00:26:00] and I'm, I'm confident in that.

Speaker 2: No for it, but 

Speaker 5: Darwinism in its best, 

Speaker 2: I'm here for that energy. Right. Well thank you so much guys. Really appreciate it. Signing to the panel. Thank you. Thank you. 

Speaker: Well, that's about it for this week's show. I hope you enjoyed the panel session. This week's show was recorded at the digital content forum from the BFI South Bank on the 6th of November.

We'll be back next week with another show. Till then, stay safe.