????BuzzFeed動(dòng)畫(huà)公司總裁扎?弗蘭克

????BuzzFeed動(dòng)畫(huà)公司的內(nèi)容與我們看過(guò)的其它視頻內(nèi)容有什么區(qū)別,？

????我們過(guò)去兩年的業(yè)務(wù)主要圍繞著視頻短片,，特別是帶著試驗(yàn)和迭代的想法。它一直在持續(xù)增長(zhǎng),，另外我們之所以對(duì)短片非常興奮,，還因?yàn)樗鼮槲覀兇蜷_(kāi)了一個(gè)知識(shí)的寶庫(kù)。它為我們打開(kāi)了一扇門(mén),，讓我們能夠發(fā)現(xiàn)文化的一些非常有意思的方面,，這些方面似乎對(duì)媒體業(yè)也非常重要。比如對(duì)自我的關(guān)注,，人們對(duì)自身一些得不到滿足的方面似乎特別容易發(fā)生共鳴。

????其次是連續(xù)劇,，以及在網(wǎng)絡(luò)上播放的中等長(zhǎng)度的電視劇,。它也是一個(gè)與好萊塢傳統(tǒng)拍攝技巧相結(jié)合的好地方。

????第三是我們的Future of Fiction工作組,，在那里我們引入了制片人邁克爾?沙姆伯克和喜劇演員喬丹?皮爾,，可以說(shuō)我們不遺余力地與好萊塢展開(kāi)了合作。我們想知道通過(guò)這樣做,，我們能否在如何生成I.P.,、如何通過(guò)減少摩擦來(lái)獲得額外的收益等方面啟發(fā)對(duì)方。同時(shí)也促使傳統(tǒng)市場(chǎng)必須進(jìn)行數(shù)據(jù)型學(xué)習(xí),。

????與傳統(tǒng)好萊塢制片公司達(dá)成了哪些具體的業(yè)務(wù)安排,？

????我不能說(shuō)細(xì)節(jié)性的東西，但是有可能合作的范疇是很廣的。我們目的是要構(gòu)建內(nèi)容和財(cái)產(chǎn) ,，并且用跨媒體的視角去思考它們,，它們所在的領(lǐng)域一開(kāi)始并沒(méi)有明確的定義。

????你們的觀眾主要來(lái)自YouTube,，對(duì)嗎,？

????目前我們的主要觀眾仍然來(lái)自YouTube，但是這個(gè)比重正在隨著時(shí)間而下降,。我們每個(gè)月在YouTube上大約有1500多萬(wàn)名觀眾,，但是如果再加上雅虎、美國(guó)在線（AOL）,、Facebook等等,，我們的觀眾群就有2500萬(wàn)人。這種增長(zhǎng)的一個(gè)關(guān)鍵部分,，在于理解內(nèi)容開(kāi)發(fā)與平臺(tái)的關(guān)系,。如果你可以把內(nèi)容分散得很廣，有不同的模式和方法讓可以你在不同的平臺(tái)上推廣視頻呢,，會(huì)有什么不一樣嗎,？公司新的推廣部門(mén)“BuzzFeed, off BuzzFeed”（意思是BuzzFeed制作的內(nèi)容，但不在BuzzFeed上播放）將把這種思路帶到另一個(gè)水平,。

????Ze Frank, president, BuzzFeed Motion Pictures

????How will Buzzfeed Motion Pictures content be different from the video content we’ve seen so far?

????The business we’ve built over the last two years is focused on short form, specifically the notion of experimenting and iterating. That continues to grow and we’re incredibly excited about the short form business because it’s opened up this bank of knowledge for us. It opened up a way for us to identify really interesting aspects of culture that seem to be important to media, like focusing on identities and the way that people seem to relate to a lot of the niche aspects of identity which we think are underserved.

????The second piece is, when we start talking about serializing content and creating mid-range series for release on the Web broadly, it’s a great place to interface with the more traditional skill sets of Hollywood.

????The third piece is [the working group] Future of Fiction, where we're bringing in [producer] Michael Shamberg and [actor and comedian] Jordan Peele, and that's an all-out collaboration with Hollywood as it is today. We’re trying to see whether, through that, we can inspire each other on how I.P. is generated, how we can make some incremental gains in reducing friction in the process. And to expose the traditional market to data-driven learning.

????What’s the actual business arrangement with traditional Hollywood?

????I can’t speak to specifics, but it’s a pretty broad swath of potential types of arrangements. The goal is to build content and properties and to think of them in a trans-media way, where the place they live isn’t defined from the start.

????The majority of your viewership comes from YouTube, correct?

????We are still in a position where YouTube is the majority, but that ratio has been declining over time. We’re at around 150 million-plus views a month on YouTube, but all-in across Yahoo, AOL, Facebook, and all those things, we’re at 250 million. A critical part of this growth has been understanding the relationship between content development and platform. What changes when you syndicate broadly and there’s different models and ways of thinking about content in different platforms? "Buzzfeed, off Buzzfeed" [The company’s new distribution unit —Ed.] is going to take that to another level.