IP Strategy
Jessica Ryan and
IP Strategy
Jessica Ryan and
The job for any studio is to create a great story and exploit it across as many channels as possible—theme parks, merchandise, games, movies, TV, TikTok, etc.
The scale of differentiation necessary to produce an MVIP has historically been determined based on the past behavior and preferences of demand. People liked to consume IP via books, movies, TV shows and comic books, not via an outline, or a few chapters, or a single picture.
Now, however, the disruption of traditional IP distributors via streaming and social media networks allows IP owner to have more flexibility in terms of production and distribution.
Lil Nas X, for example, is able to distribute his music (his IP) instantly by publishing a song (‘Old Town Road’) on SoundCloud and have it explode in popularity via remixing and UGC on TikTok. Previously, he would have had to wait to be discovered by a record label, who then would decide when to release his music and in what form factor — most likely as an album rather than a single.
Gavin puts the current state of FAST in perspective: Crowded. Fragmented. Very good for aggregators. Less good for channel publishers.
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