Opportunities for Cosmetic Brands in Upcoming Drama Productions

"We are searching for cosmetic products to feature on the dressing table of the lead actress." This statement presents an intriguing opportunity for cosmetic brand representatives or marketing heads looking to break into the broadcasting industry.

Starting in August, numerous drama productions will begin filming, and companies can propose their products. This is particularly relevant for emerging and mid-sized brands eager to establish relationships within production contexts, potentially expanding into global markets.

To understand the broadcasting sponsorship and cooperation market, it's essential to clarify how dramas are produced. Initially, production companies cast the lead actors and outline the scale of the production along with expected broadcasting and OTT distribution plans, triggering a chain reaction in sponsor and advertising strategies. Various specialized personnel involved in advertising agencies, set design, props, and location scouting join the team, ensuring a seamless production process.

Typically, major sponsors secured by companies at the production's outset have substantial advertising budgets. However, if a lead actress is already contracted as a model for a specific brand, this existing relationship may complicate any discussions around sponsorship or advertising within the show. Conversely, if the relationship with a particular brand is undetermined in the narrative, opportunities for negotiations open up. While advertising agencies and production personnel may seek advertisers based on categories, not all businesses can afford sponsorship or PPL (product placement) costs running into millions.

Nonetheless, not all products appear in dramas exclusively through large advertising contracts. As filming begins, the need for a variety of real products arises to enhance the documentary style. The art and props teams, along with external art centers and specialized production companies, are responsible for sourcing, securing, and placing appropriate items that match the characters and scenes depicted. This process involves not just contracted PPL but also various forms of product supply, including production assistance, physical sponsorship, direct purchases, and rentals.

With the expansion of the OTT era, the role of these production teams is becoming increasingly crucial. As the range of distribution channels diversifies, including terrestrial, cable, and OTT originals, it is common for one production or art organization to prepare several projects simultaneously. From the production's viewpoint, the daily question arises not just about what products to advertise but also what items are essential for the current shooting location and scene.

The month of August is critical in this context. As the heat wanes and the summer holiday season concludes, advertising and distribution sectors begin preparations for the upcoming seasonal marketing strategies. The production timelines fundamentally differ; productions preparing for broadcast later in the year require ongoing shooting and set preparations, thereby generating demand for new items.

This scenario presents entry points for emerging brands and small cosmetic businesses. Staff on set work to create authenticity by seeking out and placing items that match the characters' ages, professions, personalities, and living standards. They determine what cosmetics are needed on an actress's vanity, what items are necessary on an office desk, and what household and bathroom products are required based on the context of the scenes.

Supply needs can sometimes emerge unexpectedly. A single props requirement for a memorable antagonist might arise, or there could be an urgent need for items to film a scene involving late-night fast food consumption. In the course of outdoor filming, essentials such as sunscreen products for staff can initiate new relationships, or an unexpected need for a cosmetics store set could arise during a location shoot.

Not every instance translates into advertising exposure or effect. This is a crucial point; numerous needs, supplies, collaborations, and relationships within production cannot be solely explained by advertising contracts. The narrative of new partnerships evolves from understanding what was needed, who provided it, and at what point such deliveries were made.

Before providing products, brands naturally become curious about various aspects: Is the lead actress using the product? How many seconds does it appear on-screen? Will the product name be visible? Can a broadcasting claim be established? However, these assurances related to product exposure resonate more within the domain of paid PPL and advertisements. Supplying to a production is a different starting point, involving the timely provision of necessary products and services, leading to new connections with production teams.

Thus, simply sending a product does not automatically grant companies the rights to use an actor's likeness, broadcast footage, or intellectual property associated with the show. Conversely, not engaging in paid PPL does not negate the company’s relationship with the products that participated in production.

Brands maintain rights over their products and brand identity, while production companies, broadcasters, actors, and entertainment firms uphold their rights associated with content, images, and contracts. Media and creators will craft new content within their own areas. It is vital to acknowledge that no single participant holds all rights but rather that ongoing relationships should converge towards mutual valued outcomes.

This ongoing product supply can create lasting opportunities. For emerging brands, this is especially significant. There are more ways to participate in productions than merely securing core PPL contracts initially involving large advertising budgets. If a brand has quality products and can promptly respond to production requirements, initiating contact through the product supply channel can establish a meaningful relationship within the content ecosystem.

A single product supply does not guarantee immediate success. Predicting which projects will succeed, which actors or scenes will generate buzz, and which products will be rediscovered by consumers on social media following broadcasts is inherently uncertain. Yet, this uncertainty can spawn additional opportunities.

After a project’s premiere, media, creators, consumers, and distribution relationships could foster engagement beyond what was initially envisioned during production. Instead of focusing solely on achieving significant exposure at the outset, broadening participation points can extend the longevity of content possibilities.

Once products enter the production realm, engagement processes may commence post-broadcast. Permitted brand mentions, media coverage, and creator content can lead to search interest from overseas consumers and eventually connect to multilingual information, D2C commerce, and partnerships in distribution.

As of August 11, there is ongoing drama and variety show production targeting diverse channels, including terrestrial and cable TV, Netflix, Disney+, and Amazon Prime. Prepared businesses have the potential to discover new pathways from practical participation in product supply to forging relationships within the production environment, ultimately linking to content and global market strategies.

Perhaps what is needed on the next lead actress's vanity is not the most expensive advertising product, but rather a product that you’re ready to offer to the production site now.