A sk a producer what their ultimate goal is, and they will probably say getting programs made: finding the money, the right commissioner and/or other partners to ensure a constant stream of projects are in production.

For a long time, the thing that truly motivated me every day was the process of transforming ideas from paper into something magical on screen. However, the traditional model of producing content in Canada—securing significant (or the majority of) financing within the country, creating content for a Canadian audience with a few international sales serving as the cherry on top—has become less viable in today’s rapidly evolving industry.

To truly reach new, global audiences, successful Canadian producers have adapted to new business models. Now it’s even more essential, as the funds that need to be raised outside of our borders to make Canadian content is even more imperative. More than ever, commissions are a patchwork of presales across multiple territories and new platforms, with long-term efforts in windowing to keep the revenue flowing.

That said, I’ve also realized that, regardless of how innovative or high-quality the content we create may be, if audiences can’t find it, we haven’t done our job. This is where our world becomes far more complex.

As someone who oversees both production and distribution at Blue Ant Studios, I know that securing great deals — whether it’s landing a prime slot with a major broadcaster or signing a regional or global deal with a streaming platform — goes a long way in getting content in front of audiences around the world. But the landscape has changed dramatically and those deals are not always readily available. So how can we tackle these challenges?

First and foremost, the role of the producer has evolved significantly over the years and creators need to be thinking about discoverability from day one. Knowledge is power in our industry and working with an established distributor can help you define who your audience is and where they are going to watch content, by providing insights that are territory and market-specific.

Solutions in discoverability

If you, as a producer, are looking to create more programming, gather as much intel as possible as to what buyers need and what content does well on their platforms. That’s why we often invite our distribution, marketing and PR teams to the table during development. It allows us to seamlessly connect with our buyers across numerous touch points and sets us up for success right out of the gate.

By doing so, we can engage with multiple types of partners across traditional linear broadcasters, regional streamers from global platforms, FAST channels and branded blocks. It also helps us define our digital content strategy across YouTube, TikTok, Instagram, Facebook, Snapchat and Twitch.

Commissioning may be down around the world, but there are still more broadcasters and platforms today than ever before, and they are all looking for content, both new and library. Just at different price points. Rather than demanding the global or regional rights on one title, buyers are now more flexible about windowing to make the most of their squeezed content budgets.

YouTube plays an increasingly crucial role in content discoverability. Many producers and platforms have been using YouTube to publicize their shows and movies for years now, and broadcasters are now expanding their YouTube platforms by  posting full episodes the same day as their linear and streaming premieres.

Producers are also getting creative — uploading teasers, bloopers, behind-the-scenes content and even launching their own channels when they’ve strategically built out their IP.

Driving results

All of this activity not only helps build dedicated audiences on YouTube but can also drive viewership to the project’s other platforms. This is why more and more broadcasters and streamers are integrating YouTube and social media viewership into their overall audience numbers, recognizing the value in these platforms as part of a broader discoverability strategy.

Social media platforms, particularly TikTok and Instagram, are proving equally indispensable in amplifying content and driving organic reach. To provide some examples from Blue Ant Studios, Old Enough!, co-produced with TVO and based on Nippon TV’s popular Japanese format, earned over 12.2 million organic views and 1.4 million likes on TikTok at launch. Meanwhile, Ghosting with Luke Hutchie and Matthew Finlan amassed 3.7 million organic views on TikTok and Instagram during its CBC Gem debut.

Creators can also look to Canadian television brands like New Metric Media’s Letterkenny or McGillivray Entertainment Media and Fremantle’s Canada’s Got Talent to see how they are tapping into unique opportunities for viral moments, community-building and direct engagement with viewers.

To capitalize on this, teams are increasingly creating bespoke content for social media — such as character-driven clips, exclusive previews and interactive features — designed to resonate with these highly engaged audiences. However, it is critical that this is budgeted for and scheduled into production before it starts so creators can ensure that content is made and delivered efficiently.

With the massive growth of FAST, YouTube and other digital platforms, coupled with the changing economics of traditional TV, 2025 is set to be a revolutionary, not evolutionary, year.

Canadian producers are a resilient bunch and we cope especially well with change, and at a time when the demand for cost-effective production solutions and English-language content has never been higher, this really could be our year. Just identify the right partners for your content, and remember that for maximum success with your IP, discoverability must be a vital part of both your production and distribution strategies.

Mark Bishop is co-president at Blue Ant Studios, a global production and rights studio with offices in Toronto, New York, Los Angeles, Miami, London, Sydney and Singapore. In his role, he is responsible for overseeing and expanding the development and creation of scripted productions; leads the company’s distribution business; oversees coproductions, presales, production finance, worldwide sales activities, studio marketing, communications and government relations. He has worked with all levels of government to advise on, and help shape, policies that enhance industry support. 

Image courtesy of Blue Ant Studios