“The Gray Man” is the latest blockbuster Netflix in which two spies – played by Ryan Gosling Y Chris Evans– They chase each other like cat to mouse around the world. For the release of the film, the streaming platform invited fans to live an experience in the metaverse where they can complete a mission just like the protagonist (Gosling); the reward if they complete it are various virtual wearables that the actors wear on screen. This promotional action by The Electric Factoryis an example of the work that Uruguayan companies carry out for giants such as Netflix, Disney either amazonamong others.
“Our common thread in all the projects we do is always the combination of creativity, innovation and technology”, he stressed Camila Romero, business director of The Electric Factory. With this characteristic, the company has conquered clients among which stand out Netflix, Facebook, HBO Y Snapchat for the US market, where 85% of its turnover comes from.
Our common thread in all the projects we do is always the combination of creativity, innovation and technology”
Develop immersive experiences (metaverse, virtual reality Y augmented) as with the Netflix movie, is one of the services offered by The Electric Factory. The menu covers three other verticals: interactive (interactive experiences); studios (filming) and products (software development).
In the case of Audiovisual production Cimarron Cinemathere has been an evolution hand in hand with projects for platforms such as Amazon-Prime, Netflix either HBO, among other industry players. At the beginning of its history, three years ago, the company supported large productions in logistics tasks; today it stands as a “great creative powerhouse,” he pointed out Diego Robino, director of Cimarron Cinema. «Before (the platforms) came to film and we put together the entire production and they brought the ‘heads’ of the team. Little by little, we have put these roles adding more artistic value to the service we provide », he recounted. The “great leap” for the production company occurred when it went on to “sell them stories and do an end-to-end, from the creation and development of scripts, to production, post-production and delivery.”
This is a ladder where you climb step by step. The industry, despite being huge, is very connected and you know who has the skills and who did a good job.”
The combination of two factors contributed to the opening of the doors of these large companies. The industry’s need to produce in view of the growing demand for content and the good name that Uruguay earned as an audiovisual hub played in its favour. “This is a ladder in which you climb step by step,” Robino graphed. “The industry, despite being huge, is very connected and you know who has the skills and who did a good job,” he explained.
The result of this process is reflected in numbers; projects with large studios and platforms contribute 90% of Cimarrón’s income.
Being part of the process of development and implementation of Disney+ in Latin America and Europe is one of the most recent and challenging projects in which the Uruguayan technology company move it embarked for his client Disney.
The company carries out “custom developments in various technologies” for companies that face a business challenge or have a new project on their hands.
“What we do is compose teams of developers, designers, data people and others, to take them to the goal,” said Gabriel Fagúndez, COO of Moove It. To accomplish this task, these “cells” of the company are attached to the structure internal and client working groups.
The fact that these companies look abroad to reduce costs is an aspect that positions Uruguay, Fagúndez said.
What we do is compose teams of developers, designers, data people and others, to take them to the goal”
Hulua streaming platform which is owned by Disney, also relies on Moove It’s services. The way this client arrived is not untypical in the tech industry. Fagundez recalled that a few years ago they worked for a Phoenix company whose chief technology officer was hired by Hulu for a high position. When the executive took on his new role, he recommended Moove It to his bosses.
A similar story told Philip Pelzel, managing director of Wild Firegarding how your company went on to sell creativity and innovation services to the AMC chain Since three years ago. The Uruguayan firm has devised multiple actions for The Walking Dead series. Soon they will repeat for the premiere of interview with the vampiredrama based on the novel by Ann Rice.
According to Pelzel, the giants do not always know Uruguay, but they value companies that have big-name clients and can showcase their expertise on major projects. “‘Tell me who you worked with and I’ll tell you who you are’ is a bit of the criteria they apply,” she assured.
‘Tell me who you worked with and I’ll tell you who you are’ is a bit of the criteria they apply”
Word of mouth is a shortcut to attracting great customers. But the most important thing is the quality of the service provided.
On this point, Pelzel mentioned that this type of company expects from its suppliers a value proposal according to what they are looking for and that they have “back to produce in a large magnitude”. Wild Fi had to create more than 1,000 pieces about The Walking Dead directed to 14 countries and in seven languages.
The experience throughout the work process must also be up to the task. Collaboration, transparency, fluid communication, flexibility and pragmatism contribute in that direction, Romero listed.
The partners have to understand each other, know how to face problems together, know who the other is, what they need and accompany them”.
Platforms require, according to Robino, a smooth work system. That implies covering legal issues, rights, business, having good delivery capacity. In short, “you have to give certainty in addition to filming well so that they feel comfortable.”
Jacinto Montú, founder of Unicorn Games, believes that in addition to quality and professionalism, it is important for a provider at this level to understand “what the client’s culture and processes are like to be able to interact with someone so large.” His company works for Disney and has developed technological solutions for the multinational that “connect” toys through the Internet. One of his most outstanding works was an activation campaign for Frozen 2.
On these bases it is possible to build a long-term relationship, those consulted agreed. The bond is like a good marriage, Montú compared: the partners “have to understand each other, know how to face problems together, know who the other is, what they need and accompany them.”
One of the characteristics that usually surround the work with large multinationals is the confidentiality through clauses that establish the extent to which information can be disclosed. Secrecy may even deprive the supplier of promoting its involvement in a job for the client.
At Moove It, the team that works for a big client doesn’t collaborate on other projects, said COO Gabriel Fagundez.
On the other hand, the executive commented that “large companies are reluctant to delegate control of the project”, but that the “boldness” of the Uruguayan in questioning and seeking the best way to do things, has allowed Moove It to win the trust of its clients and have greater weight in the decisions that are made in the work process.
Collaborating in the creation of a product or service for a large client is a powerful argument that helps attract talent, assured Camila Romero, from The Electric Factory. Bet on people, train them and encourage their creativity and curiosity to achieve the best result, is reflected in the work, added the executive. “You always want to win the World Cup, the same thing happens to us with each project,” she closed.