The TikTok ban is reshaping creator recruitment and agency best practices on social media

“This forces you to think a little deeper about the campaigns that are moving forward, and every delivery way we are going about the future campaign,” said Ria Madon, Chief Director of the Partnership of the Creators at the Superdigital Social Media. “Moving forward, [the focus is] Working with creators who diversified their platforms and have a similar range on all platforms, versus only one or the other – this affects this thought process across the board for me. ”

This comes when tiktok faces a 75 -day extension in the previous 19th January ban or sales date in the US, as OA interviews Potential sales At the same time, they take place with several technological giants and are called stakeholders. Many agencies and creators transformed their short content for youtube shorts, instagram coils, snapchat and expanding other products and contentLike newsletter, merchandising or personal website.

In particular, social and influencing agencies seek to be more sophisticated in how they hire different types of talents and creators-they emphasize the presence of multiple platforms on social media and flexibility in adapting content if any channel is disrupted. They want to see that the creators generally come not only with a big follow, but by achieving the audience and engaging on several main platforms.

Before this threat to tiktok it may not be a yellow flag if the creator focuses heavily on tiktok and less on other platforms. He is now moving to look more holistic at the activity of social media in case they need to turn around in the middle of the campaign. During this uncertainty, many creators have already published Instagram reels, although they preferred the Tiktok algorithm, Felipe Mendez, United Talent Agency manager, added. YouTube shorts seemed to be “uncharted territory for many,” Mendez said. In addition, some creators also focus on the transition to YouTube content for a long time as well as the use of youtube shorts.

“The contracts were created with the possibilities to stay in front of the curve and are ready for any changes to the platform for future campaigns,” Mendez said.

For UTA it seems that the new partnership in the “slower” is running down because the brands adapt their outputs, but budgets are still in tiktoku, Mendez said anecdotically. “But [creators] Definitely prepared for a fast pin. “It seems that the brands also expect Mendez to have said and work on the timelines of three videos in two months compared to three in three months.

Tiktok’s vulnerability was a challenge for the creators and agencies to constantly diversify the creators and agencies. In Superdigital, if the creators had at least one tiktok in their work, they recently included a “next request” to create alternative content adapted to Instagram and other platforms, Madon explained, adding that the agency expected to see this amendment more widely. in the future for their agreements on the creator.

“The creators will cooperate with us, agency and brand to find out an alternative path for their content outputs, which sounds like something that should be in all contracts – but frankly, it’s not something I really saw,” Madon said digiday . “Because it’s not something we often thought about too much before it all happened.”

On the brand side, the agency looks in more detail at the recommendation of content to ensure that they not only invest only in tiktoku or Instagram, Madon added. “It was interesting, because we would replace one video Tiktok for a lot of time with two or three alternative outputs,” she said.

Understand what works

Right now, we are focusing exactly on the specific tactics between coils, shorts on YouTube, Snapchat or even Redote – but the overall recommendation “to publish your content everywhere, watching your winnings after a few months and turning on the basis of data”, Mendez added.

This is where UTA also reinvested in their research team to determine the appropriate content strategies for clients, said Stephanie Smith, vice president and IQ strategy in UTA. The team draws on about 30 data sources and analyzes “cultural location, audience demography and key drivers” that could include social content analysis, social listening, audience interests and searching activity, SMITH.

“We create a detailed talent profile, we capture who they are and what they represent,” Smith added.

Specifically, UTA cooperated with clients to check the highest content and develop recommendations for cross publication on YouTube and Instagram-like what type of content to earn more and where to adapt if something insufficiently executive. They also checked the audience’s demography and received feedback from the followers to the home, where the creators must expand outside the tiktok.

“Own research.” [explored] Where their favorite creators want to appear, for example, on asking and at what price they would be willing to pay for premium content, ”Smith said.

Smith introduced one example of an unnamed client who released a new cookbook who used data that shows that the organic content resonated most with his audience – so the promotion was focused on creating “natural moments”, Smith explained.

Madon also believes that these strategies will continue to evolve because they differ depending on the expectations of the campaign and clients, no matter what it eventually comes from Tiktok. In addition to YouTube and Instagram, there are also some campaigns testing Snapchat, because this client was more interested in the audience Snapchat – but all of this comes to the client’s budget, channels and negotiating process, she explained.

“We don’t think about Tiktok after a temporary ban on January 19,” Madon said. “While short -term, the impact was mainly felt.”