“Big ambition, fierce organisation and commercial imagination are key to unlocking margin in digital projects,” says Lucy Smith, founder of Fawkes Digital, who reveals how the team stacked two international YouTube series – Korean Tourism Organisation’s ‘Korea Ladder’ and Channel 4.0’s ‘Baddest in the World’ – in the ultimate win-win-win double commission.
I understand why traditional TV production companies baulk at digital budgets – they’re tight, and routes to exploiting IP are unfamiliar and uncertain. But with fewer avenues to test and iterate fresh formats on linear TV, at Fawkes Digital we see YouTube as an incredible opportunity to release ambitious new IP to audiences and monetise in imaginative ways via direct monetisation, format sales and merchandise.
Big Ambition
Earlier this year we secured a fully-funded commission from the Korean Tourism Organisation – a four-part comedy-factual format Korea Ladder. The series follows a trio of British creators – led by Richard Sales (4m+ subscribers) and his two best mates Ethan Aveiro and Natalie Taylor – as they complete work placements in pioneering Korean industries and experience the best of off-the-beaten-track Seoul.
Once green-lit, we knew we’d have a brilliant three-person crew out in Seoul with paid-for flights, carnets, kit, transfer costs, accommodation, location research, access, etc. factored into the budget. Seemed a waste not to pitch additional projects we could film off the back.
We know Channel 4.0 are always looking for ambitious new formats with a sense of mischief, tapping into youth culture, so a series set in Korea – home to big youth trends K-Pop, K-beauty, K-fashion and Korean cuisine – felt a seamless fit with their slate. And clearly there’d be huge cost benefits of stacking productions.
The result is Baddest in the World, Channel 4.0’s first international commission. This three-part digital dating format sees three superstar British female creators – Chloe Burrows, Adeola Patronne and Madame Joyce – compete to out-rizz each other on dates with local Korean men. Each episode sees them each date the same guy but it’s potluck which mystery date they land, they range from hyper luxury yacht rides to bizarre encounters with penis fish to eating poo.
Fierce Organisation
The demands of producing two original formats within a fortnight, 5,000 miles from Leeds, in a non-English-speaking country required fierce organisation, but it was equally vital to keep the team lean to ensure we kept to budget.
Hiring a small but mighty crew was our number one priority, so we brought on renowned series producer Cherry Sandhu (Squid Games the Challenge, Love is Blind) and exceptionally talented DOP Ben G. Brown to bring both projects to life. They were incredibly enthusiastic and adaptable, making quick decisions on the ground, ensuring we stuck to schedule and managing the pipeline of rushes and notes with precision. Navigating Korean culture was made all the easier by the presence of our Korean Tourism Organisation commissioner Adam Pepin-Hall, whose fluency in Korean – linguistically and culturally – ensured the production ran smoothly.
But the juggle didn’t stop on our return as our brilliant editors – Dave Woodyer (Baddest in the World) and Reed Crow (Korea Ladder, Baddest in the World cut downs) – crafted the rushes into the final series, with brilliant graphics from Scott Booth (Baddest).
Commercial Imagination
Stacking these productions was the ultimate win-win-win. The Korean Tourism Organisation got the show they wanted at a cost-effective rate, Channel 4.0 got an international series at a hugely crunched price point, and Fawkes won a double commission with a bigger margin. And the stacking process not only enabled us to bring our costs down, but also hugely reduce the carbon impact of international production.
Yes, we needed to back ourselves to deliver when pitching two projects together. Yes, as a crew of three we had to be fiercely organised on the ground. Yes, to monetise these projects we’ve had to think imaginatively about deal terms and graft hard to protect our margins.
But as opportunities to pilot original formats on linear TV evaporate and the digital universe expands, it feels like the perfect time to be pivoting towards growing new formats and audiences on digital platforms.
Fawkes Digital is a next generation formats company, developing, producing and exploiting digital-first IP in partnership with forward-thinking broadcasters, creators and brands.
