Join me and six branded entertainment luminaries at my PGA New Media Council East mega-panel during Advertising Week New York, ‘Gaming the System: Branded Entertainment for Producers’ on Wednesday, September 30th, from 7:00-9:00 pm, at The New School’s Lang Auditorium, 55 West 13th Street (between 5th and 6th Avenues), 2nd floor.
In addition to great networking, food & drink, and a gathering of the new media tribes, the following presenters will appear:
Ian Schafer, chairman, US CEO and founder, Deep Focus
Warren Weideman, founder, First Look Productions LLC
Luis de la Parra, senior vice president, partner solutions, Univision
Colas Overkott, CEO, Sync
Will Misselbrook, head of branded entertainment, Condé Nast Entertainment
On Thursday, February 26, at Streaming Media Connect, Chris Pfaff, CEO, Chris Pfaff Tech Media, moderated the panel “Vertical Leap: Growing the Free Vertical Drama Business at Streaming Media Connect,” which explored the ways that vertical drama is exploding on free streaming platforms, driven by mobile-first viewing, bingeable formats, and a new generation of viewers and global creators.
The potential of vertical series to become a major mass media form
Pfaff began the discussion by noting that vertical microdramas are a rapidly evolving and exciting new area of media. He asked the group, “How can a seasoned executive in microdrama leverage their past experience from traditional film and TV to increase both artistic and commercial value of this medium?”
Woodley shared his journey from early web series to mobile storytelling, emphasizing the importance of compact stories and the potential of vertical series to become a major mass media form. “I think we are starting to see the aperture widen,” he said. “We’re not only talking about micro budget production…we are now at the precipice of this really becoming a big new mass media in a way that we haven’t seen in a while.”
The integration of AI in content creation and distribution
Grace Gao discussed the launch of her microdrama studio, Celestine Pictures, and the integration of AI in content creation and distribution. “We are focusing on IP screenwriting as our core moat, but also utilizing AI in the pipeline, and also acquiring and distributing internationally at the same time,” she said. “And where it all came from was [that] I’ve been a bilingual person my whole life, and I started out my film and TV career out in New York, the very independent filmmaking scene, traveling with a co-production crew around the world, from Australia to Asia, back to the States.”
She went on to recall that, “after coming out of grad school with a screenwriting degree, straight into the strike, the only gig in town was the verticals. So I naturally fell into this landscape and started learning about this new medium early because of that, learning from the best platforms out there, best collaborators early in the game. Now I’m able to see where we fit best in this entire landscape, and I decided to establish our own thing, really honing in on human creativity as we’re evolving further into automation, trying to cut the cost down across the board.”
The shift in content strategy and audience engagement for microdramas
Brandan Dennehy recounted his experience with Pocket FM and the rise of microdramas, noting the shift in content strategy and audience engagement. “I sort of backed my way into this space completely by happenstance, even before microdramas were a thing. I spent 20 years in Hollywood working with folks like David Ellison, Kevin Feige, and Michael Mann. And even then, it was impossible to get anything made. The pandemic came along and killed everything that I had set up, and serendipitously, a company [Pocket FM] reached out to me, pitched themselves as the Netflix of audio, and I said, sure, let’s do it. And what I learned immediately was that this company’s business model was quite different than anything else that was going on.
“We were licensing content from China, we were localizing it, we were testing it. And then, when we were validating through testing, we would make those shows for the US audience. And that model was in late 2021, which led to the explosion of microdramas about a year and a few months later, when ReelShort came out. And so we moved into that space in our own way at PocketFM, mostly for marketing purposes, but also putting shows in the app.
Carina Williamson highlighted the opportunities for new graduates in the vertical space and the rapid production cycles that allow for quick audience feedback and content adaptation. “We’re seeing a new generation similar to me who are coming to Hollywood out of school or moving to try and make a career in entertainment. And they’re all turning to verticals instead because, one, there are just so many of them that there’s an endless amount of options, and also because there is a severe lack of options in the traditional Hollywood space.” She also emphasized that microdramas are well-suited for highly optimizing audience engagement due to their quick turnarounds. “[We] have the opportunity to see projects through from script to production to editing to release in such a short amount of time, and be able to understand the data and our audience in such short timeframes, make such quick decisions, test things out, and get to understand what people are looking for out of this new form of media.”
Brand integration in vertical dramas
Woodley discussed the unique opportunities for brands to fully integrate themselves into vertical dramas. “I’m Dos Equis, and at the top of the quarter, I could say, ‘Oh, you know what? I think I’ll do a microdrama. And by the end of the quarter, it’s out, and I have my results.’ And that’s the kind of thing we did when I was at College Humor, leading the branded content division, but that would be for a brand with a one-off sketch video. And now the question is really, well, why can’t a brand make an entire series? And they’ve started to. Procter & Gamble recently made a 55-episode series with Jonas [Barnes] at Pixie USA. And there’s been a couple of other experiments in this space, [such as] Maybelline.”
The immersive arts and entertainment cognoscenti showed up at the School of Visual Arts Graduate Theatre in NYC on Thursday, January 22nd for ‘Immersive Theatre: Volumetric Capture Smashes the Four Walls.’ Some of the leading players in the field, including Richard Broadbridge from 4Dviews, Todd Eckert from Tin Drum, Inc., and Leigh Tanner from HTC VIVE Arts, and Chris Pfaff SXSW from Chris Pfaff Tech Media LLC gave detailed presentations on experiential theatrical and musical works that leverage how volumetric video enables human-like presence, emotional depth, and audience connection in ways that traditional stages simply cannot.
Todd Eckert, who produced ‘An Ark,’ which had premiered the previous evening at The Shed (NY), showed how the four actors, including Sir Ian McKellen, took to the volumetric recording process. Richard Broadbridge discussed his work with Eckert on ‘An Ark’ and their previous collaborations, including ‘KAGAMI’ with Ryuichi Sakamoto. Leigh Tanner discussed ‘Playing with Fire,’ the spectacular musical experience with pianist Yuja Wang, currently playing at Philharmonie in Paris.
In case you missed me at The Polys – Immersive Awards this past March 23rd, at the Microsoft Garage in Manhattan, or have yet to check out the amazing live production on YouTube, you can now see my live-hosting gig as the announcer for the ‘Innovator of the Year’ Award, which was won by Super Splat.
Michael Owen, Dario Loverde, Alex Coulombe, Alvin Graylin, and Chris Pfaff, after the Polys (and Alex Coulombe’s cartoon treatment)
Chris Pfaff hosts the Innovator of the Year segment during the 5th Annual Polys, at Microsoft Garage
Chris Pfaff and Elena Piech Chris Pfaff and Alvin Graylin Ori Inbar, Yu Yuan, Alvin Graylin, and Chris Pfaff
On Wednesday, December 3, 2025, Chris Pfaff moderated the ‘Streaming and Beyond: The Future of TV Sports’ panel at the TV of Tomorrow Show NYC at Hudson Commons in Manhattan.
The conversation ran from FAST channels for niche sports to gamification of sports on TV, and AI personalization for viewers.
The expert panel consisted of:
• Cathy Rasenberger, President, Free Live Sports
• Christy Tanner, Chair, Swerve TV
• Matt Felder, VP of Ad Sales, Fubo
• Pete Scott, Chief Strategy Officer, Play Anywhere
• Rob Bocchicchio, President, Centriply
STREAMING AND BEYOND: THE FUTURE OF TV SPORTS
Live-streaming sports is a global market that is valued at $32.4 billion and is projected to reach more than $100 billion by 2033. As live sports shifts to direct-to-consumer platforms, engagement matters more than ever, with AI and data shaping the experience. The gamification of sports is upon us, and features ranging from alt-casts to multi-view to real-time personalization will drive greater monetization of sports content, increasing fan engagement. This panel will discuss the production of a brave new world for sports content.
On Tuesday, October 21, 2025, Chris Pfaff moderated the ‘Future of Fan Engagement with AI’ panel at the 2025 Upside U.S. Sports Tech Summit at Amerant Bank Arena in Sunrise, FL (the home of the two-time defending Stanley Cup champs, the Florida Panthers).
The session discussed tailoring content and experiences for individual fans and AI-powered fan engagement and training tools, and featured:
* Bill Chapman, Emmy® Award-winning live director and producer, Warner Bros. Discovery * Pawl Osterreicher, co-founder and CEO, Respo.Vision * André Antonelli, CEO, Machina Sports * Steven Lund, head of sales, Cerbrec * Robert Hull, CFO, Panini America
The Sports Tech Conference, produced by Upside Global, features leading sports medicine, sports science, sports training, sports engagement, and sports management professionals in an all-day event that includes leagues (NHL, NBA, NWSL, NCAA), teams (Minnesota Timberwolves, New York Knicks, Miami Heat, New York Liberty, Florida Panthers), schools (Florida Atlantic University, FIU, University of Miami), as well as leading venture capitalists (SeventySix Capital, Courtside VC, Wildcard Ventures, Cartan Capital, Stadia Ventures, Causeway Media Partners, Relay Ventures), and leading sports tech firms (Machina Sports, Vert Sports, Kinvent, Winback).
On Wednesday, October 8, 2025, Chris Pfaff moderates the session ‘The Future of Brand Integration and Sponsorship in Streaming’ at Streaming Media 2025 at the Fairmont Miramar in Santa Monica.
John Petrocelli, from Bulldog DM; Adam Gouttierre, from Hudl; Dylan Conroy, from JOURNY TV, and Scott Davis, from Global Logic, discussed brand integration in streaming, particularly live sports and entertainment.
B203. The Future of Brand Integration and Sponsorship in Streaming
Brand integration today goes beyond mere product placements or commercial breaks. It’s about creating organic connections between content and brand experiences with sponsored content, co-branded shows, and interactive experiences. This session digs into the ways brands are embedding themselves in video content.
On Tuesday, October 7, 2025 at Streaming Media 2025 at the Fairmont Miramar in Santa Monica, Chris Pfaff moderated a session – ‘The Creator Economy and the Future of Monetization’ – with some of the leading players in the creator space, including Jonathan Shrank, from TheSoul Publishing; David Williams, from pocket watch; Charlie Ibarra, from Creator Television, and Parker Jones, from Towerhouse.
Tuesday, October 7 4:15 p.m. – 5:00 p.m. C104. The Creator Economy and the Future of Video Monetization
Creators are shaping the next wave of content, and that wave is rolling in fast. Join this panel to gain insight into the emerging creator economy and how to make it profitable.
On Monday, October 6, 2025 at the Fairmont Miramar in Santa Monica, Chris Pfaff moderated an expert debate for Streaming Media 2025 – ‘Is the Future of Streaming Free or Paid/Hybrid?’ Jonathan Shrank, from TheSoul Publishing, and John Stevens, from V10 Entertainment appeared as “Team Free” and Rebecca Avery, from Integration Therapy and Jon Giegengack, from Hub Entertainment Research appeared as “Team Paid/Hybrid.” A spirited debate and discussion period ensued over the hour, but Pfaff determined that Team Free had won the day.
Monday, October 6 Debate #1: Is the Future of Streaming Free or Paid/Hybrid? 12:30 p.m. – 1:30 p.m.
FAST executives and SVOD leaders square off on the future of free vs. paid streaming.
On Thursday, June 12, 2025, Chris Pfaff moderated the expert session ‘How to Create Life-Like Immersive Stories with Volumetric Video Production’ at the Long Beach Convention Center, with panelists Richard Broadbridge from 4Dviews, Lauren Michelle from Operaverse & The Chipped Nail, and Corey Rosen from Super 78.
HOW TO CREATE LIFE-LIFE IMMERSIVE STORIES WITH VOLUMETRIC VIDEO PRODUCTION
The explosion of virtual stories across platforms has seen an increase in the integration of real humans in immersive experiences. The evolution of stunningly realistic volumetric video now enables real human capture and integration in scenes that are life-like and spatially adaptive. The innovations that are now making the human more prominent in complex virtual narratives are being led by producers and toolmakers who are building a network of dynamic volumetric artisans.
This session features leading developers of mixed reality, VR, and mobile AR that enable virtual humans – not avatars – to live and perform in immersive environments.
On Tuesday, June 10, 2025, at Augmented World Expo (AWE) U.S. at the Long Beach Convention Center, Chris Pfaff appeared on a session – ‘Reality Creator Economy: XR and AI Collide to Unlock Massive New Frontiers in Reality Commercialization’ – that was moderated by Yu Yuan from MASA, and – in addition to Pfaff – featured Ben Erwin, from the Academy of Immersive Arts and Sciences, and Julie Smithson from METAVRSE and XR Women.
As XR platforms evolve from niche experiments to mainstream destinations, creators must navigate a complex landscape of revenue models—from virtual goods and subscription tiers to brand partnerships and platform revenue shares. This session will survey today’s proven monetization strategies for XR experience and content creators, then look ahead to the transformative potential of Generative AI and Agentic AI, including automated content generation, AI-driven personalization, and autonomous digital agents that can extend creators’ reach. We’ll also explore how collaborative metaverse and virtual world ecosystems—where thousands of creators co-build immersive spaces—can implement fair, transparent reward mechanisms. Join us to understand how creators can thrive today and shape tomorrow’s XR economy.
From Streaming Media Magazine, by Tyler Nesler, March 2, 2026 (https://www.streamingmedia.com/Articles/News/Online-Video-News/Vertical-Leap-Growing-the-Free-Vertical-Drama-Business-at-Streaming-Media-...
