Nigeria’s video production industry must evolve with technology, data, changing audience habits – Tubon

Ayodeji Tubon, Managing Director of IBST Limited

By Felicia Nwosu

Nigeria’s video production industry is at a critical point of transformation, with rapid advances in technology, the growing influence of artificial intelligence, increasing reliance on audience data and changing content consumption habits redefining how production companies create, distribute and commercialise content. Against this backdrop, Ayodeji Tubon, Managing Director of IBST Limited, has called on industry players to embrace innovation, strengthen their creative capabilities and rethink traditional production and business models to remain competitive and relevant.

Speaking during an exclusive interview with MARKETING EDGE ONTV recently in Lagos, Tubon identified artificial intelligence, digital platforms, short-form content and evolving audience preferences as major forces reshaping the industry, urging production companies and creative professionals to adapt their operations and business models.

According to him, although technological advances have lowered the barriers to entry and created more opportunities for content producers, they have also intensified competition and increased pressure on professionals to deliver quality productions within limited budgets and tight timelines.

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Explaining the challenges confronting production companies, he identified time, budget and client expectations as major constraints, noting that some clients still regard video production as a short-term expense rather than a long-term business asset. He argued that businesses must understand the lasting value of quality video content, which can extend a brand’s reach beyond its physical locations and products when properly developed, funded and distributed.

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Turning to audience measurement, he emphasised that reliable data should guide media planning, content development, message delivery and advertising decisions. He explained that social media platforms already provide useful analytics, enabling content producers and advertisers to understand audience behaviour and measure engagement.

By contrast, he identified gaps in audience measurement across Nigeria’s traditional broadcasting industry, particularly radio and television, as well as in the measurement of music consumption and royalty payments. He called for technology-driven systems that can provide more dependable information about audiences and content performance.

On the Digital Switch Over and the development of Free TV, Tubon said the initiative could create opportunities for broadcasters, content creators, advertisers and viewers beyond the introduction of additional channels.

However, he stressed that its success would depend partly on transparent measurement and accountability, including reliable information on decoder distribution, actual viewership, viewing hours, audience demographics and content preferences. Such information, he explained, would help advertisers and other industry stakeholders assess the platform’s commercial value.

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While declining to comment directly on the use of the word “free” in Free TV’s positioning, out of respect for the vision behind the initiative, he maintained that the transition to digital broadcasting was inevitable and that stakeholders needed to prepare to take advantage of the opportunities it presents.

Addressing the growing preference for short-form videos, Tubon said content producers must understand how quickly audiences make decisions about what to watch, stressing that the first one or two seconds of a video can determine whether viewers remain engaged.

Consequently, he recommended strong opening hooks, engaging storytelling, short episodes and cliffhangers to sustain audience interest. He also advised producers to break longer programmes into smaller content pieces that can be distributed across different digital platforms.

Rather than rushing to sell advertising around content, he urged producers to first develop attractive content products and build the capacity required to sustain them. In his assessment, a well-developed content offering with an identifiable audience is better positioned to attract commercial partnerships.

Beyond content development, Tubon advocated stronger collaboration among professionals across the production value chain, including cinematographers, directors of photography, location scouts, casting directors, editors, sound specialists and set designers.

He argued that production companies should explore profit-sharing and equity arrangements alongside conventional professional fees, explaining that shared commercial interests could encourage greater commitment, align incentives and allow creative partners to benefit from the success of the projects they help develop.

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Speaking on the evolution of IBST Limited, he disclosed that the company was established more than 23 years ago by his boss and mentor, Mr Remi Ogunpitan. The organisation, whose full name is Integrated Broadcasting Solutions and Technologies, began as a video production agency and has worked across television commercials and major television formats.

He also disclosed that IBST was involved in producing the original Big Brother production alongside Storm 360 through a special purpose vehicle, adding that the company continues to adapt to developments in the broadcasting and audiovisual industries.

Today, he said, IBST is evolving towards becoming an audiovisual communication strategy agency, expanding its approach beyond conventional production to incorporate technology, strategic communication, live broadcasting and streaming.

As part of this transition, the company is developing an artificial intelligence-powered tool called VideoMind, designed to analyse raw footage, generate metadata, describe video content, transcribe dialogue and identify scenes and sounds through timestamps. He disclosed that the tool was undergoing internal beta testing.

On the opportunities available to creative professionals, the media professional identified social media, artificial intelligence, influencer marketing, digital distribution and improved audience targeting as areas with considerable growth potential. He noted that the digital environment has made it possible for smaller creators to build audiences and attract commercial partnerships without necessarily operating through traditional media structures.

Nevertheless, he stressed that talent development must go beyond academic qualifications and professional certificates. When recruiting, he said, he looks for leadership qualities, curiosity, storytelling ability, passion for excellence, work ethic, personality and the strength of a candidate’s showreel.

He also encouraged creative professionals to develop multiple income streams, noting that their skills could create opportunities in content creation, influencer marketing, event hosting and other related activities.

On the role of government in strengthening the industry, Tubon called for policies and practical interventions that would improve access to finance, provide land for film villages, simplify production permits and create a safer working environment for crews.

He specifically urged authorities to address harassment and extortion by area boys and security personnel, which can disrupt production activities and increase operating costs. According to him, an enabling environment would encourage investment, support local talent and improve the industry’s capacity to compete.

Meanwhile, he identified the high cost of importing and maintaining production equipment, electricity and diesel expenses, financing difficulties and inadequate client budgets as significant pressures on production businesses.

He maintained that clients and agencies must develop more collaborative relationships, with both sides recognising their shared interest in achieving quality outcomes rather than treating production as a transaction driven solely by cost and delivery deadlines.

Reflecting on his approach to leadership and problem-solving, Tubon said his personal philosophy is that “the solution will always be bigger than the problem”. He attributed his approach to curiosity, continuous learning and studying the work of successful creative professionals. He further emphasised that brands must develop different creative executions for different platforms and audience moments instead of relying on a single message across every channel.