Export campaign focuses on distributing Netflix’s original content to international markets (i.e. The Crown).
Import campaign involves acquiring and promoting content from international markets to be available on the platform in other regions. (i.e. La Casa de Papel) which was originally produced by the Spanish network and acquired by Netflix.
CCM - Creative Campaign Manager
CCM is fully integrated with POP and PAL. Using CCM to review orders and fulfill, PAL+CCM will auto-populate final asset links back into POP.
PCS - Product Creative Studio
PCS distributes their assets (artwork and AV assets) to the Netflix streaming service.
While Marketing distribute their assets
Picture Head - finishing vendor
Teaser / Date Announcement (DA) - On export titles, there often is a separate Teaser and a separate DA whereas on Domestic titles it’s likely to be one asset. Timings, Localization Strategy and feasibility are set by Campaign Ops & AV production.
Tentpole - a "tentpole" refers to a major film or television show that is expected to be a big hit and generate significant revenue or viewership. These projects are often heavily promoted and marketed, as they are seen as key drivers of a company's success.
LLO - local language originals. This refers to content that is produced in a specific local language for a particular region or country.
3 assets localisation strategies:
Proactive localisation assets are proactively localised on behalf of country marketers that have indicated support.
Opt-in localisation - supporting country marketers can opt in for assets, self-service
Source files only - marketers are given access to working files to localise them in-region
CLIPS access requests
Wait for someone to specifically contact us directly or email the Clips Approvers DL to ask for approval.
Only approve access for my own assigned titles. Never for UCAN/LATAM/APAC titles, even if someone asks you.
Campaign management and planning → Master assets finishing and localization
After the offline Trailer locks (in the creative execution phase) the AV Producer receives the prep files from the agency.
The AV Producer is responsible for delivering the final conform (trailer with final, graded footage) and working on the final soundmix. Together this leads to a final master trailer, which will be signed off by the Title Marketing creative lead.
After approval of the master and any resized masters, the AV Producer will manage all requested localization of the trailer (proactive or opt-in). At the point of lock, Campaign Ops / Marketing Production Managers will work with the AV Producer to acquire all localization requests (if applicable), through POP. The final assets are delivered to VanDam and PAL. Led by the AV Producer.
Final deliveries and debut Art & Trailer
The Main Trailer Debut is one of the biggest beats on a campaign, and often accompanied by the main Key Art. The debut can be a global debut: the trailer will go out on all global YouTube channels & any social channels supported by the editorial teams. This is more often seen on bigger export and tentpole titles.
It can also be a smaller debut where only those countries interested or supporting will debut the trailer, often upon request. This is more often seen on Domestic (“Local”) titles.
AV and Art & Print Producers are responsible for delivering final assets ready for debut, following information collected in the MTT.
Debut information is shared via the Debut email (kicked off by Media Ops) and in the Debut Sheet. We usually try to debut the Trailer & Art at the same time on service as we do off service (in collaboration with Title Ops Launch Managers).
Led by the AV Producer.
Want to print your doc? This is not the way.
Try clicking the ⋯ next to your doc name or using a keyboard shortcut (
