At Mipcom 2025 in Cannes, Jean-Loup Fraudin and Thomas Subra of Motion Society (Moso) saw something shift: the world’s biggest streaming executives were suddenly talking about creators. That moment captured what Moso, a Paris-based content and distribution company launched in 2022, was built to do: connect digital creators and traditional media infrastructure.

“It’s really the crossover of two worlds,” Thomas says. “The creator economy and the streaming-producing world. It speaks volumes that YouTube was a sponsor of this event. It shows that creators now have a voice in spaces once reserved for legacy producers.”

For the co-founders of Moso, the growing interest from traditional platforms validates the company’s mission: giving creators the same operational backbone as major studios. 

“It’s exciting to see legacy players make room for creator content,” Thomas says. “2026 will be a very interesting year to watch for creators.”

Thomas Subra & Jean-Loup Fraudin

Founding a Company for the Creator Age

Jean-Loup and Thomas met long before Moso. Both built early careers in finance: Thomas in investment banking and private equity at Nomura, SG Americas, and DIF Capital Partners; Jean-Loup in infrastructure and structured finance at Crédit Agricole and Rivage Investment.

Their professional rigor shaped how they first approached the creator economy. Thomas recounts: “We were four friends with complementary backgrounds. Two of us came from finance, one from tech, and one was already a successful YouTuber with over a million subscribers.”

The creator’s frustration sparked the idea. “He kept telling us, ‘I feel like I’m sitting on a gold mine with my YouTube catalog, but it’s just sleeping,’” Thomas recalls. “He didn’t have the time or the team to make it work on other platforms.”

Agencies and automation tools existed, but, as Jean-Loup notes, “None of them felt creator-friendly enough or respectful enough of the work behind the content. Every video is one of their babies.”

That insight led to Motion Society: a company that could scale distribution without sacrificing quality or control.

“Our mission is invisibility,” Thomas says. “We amplify creators, give them reach, let them shine, and we stay behind the scenes.”

What Moso Does

At its core, Moso adapts, publishes, and monetizes creators’ content across platforms. A video born on YouTube might later live, optimized and reformatted, on Facebook, TikTok, Snap, Microsoft or even connected-TV environments such as FAST and AVOD channels.

“We’re not a tool, not an agency, and not a talent manager,” Thomas clarifies. “We’re an execution partner.”

Jean-Loup adds that the company’s work extends beyond creators to include media brands and intellectual property (IP) owners. “For us, it starts with owning an IP,” he says. “That could be a creator’s catalog or a TV show concept. We exploit that IP and refit it for multi-platform audiences.”

Today, Moso manages more than 500 creators worldwide, generating billions of monthly views across multiple ecosystems. Roughly half of its network is U.S.-based, with the remainder spread across Europe, Latin America, and Australia.

The Technology Behind the Curtain

For a company that defines itself by invisibility, Moso relies heavily on technology few outsiders ever see. “The best creativity comes from structure,” Jean-Loup explains. The company’s proprietary operating system connects every step of its workflow – from video ingestion to publishing across all platforms.

All data from each upload is fed into a closed internal ecosystem. “It’s tens of thousands of videos every month,” Jean-Loup says. “The automation isn’t just about speed; it’s about precision.” By removing manual steps, Moso’s process becomes “far more reliable and consistent, no matter the scale or platform,” he adds.

Each piece of content runs through an AI-assisted pipeline. “Our models analyze years of performance data to guide decisions, from choosing which videos to repurpose to predicting the best titles, formats, and publishing times,” Jean-Loup says. “The more we operate, the smarter the system becomes.”

Yet human expertise remains central. “Everyone works inside our tech platform,” Thomas says. “But we keep humans in the loop. Editors receive all the pre-processed material, such as subtitles, frames, structure, and decide what makes editorial sense.”

Every action is tracked within Moso’s proprietary environment, eliminating the need for external tools. “No Google Sheets, no separate dashboards,” Jean-Loup says. “Everything happens in one platform connected directly to social networks. That’s how we cut the low-value tasks and let editors focus on creativity.”

By their estimates, Moso’s system reduces operational time by 70-80%, turning what used to take hours into minutes. “It’s difficult to explain – but it’s as simple as that,” Jean-Loup says. “Removing the friction lets our people perform at their best.”

An Invisible Partner for Creators

The co-founders insist that Moso’s differentiation lies in its creator-centric model. 

“Tools are great,” Thomas says, “but they just add more work for creators. Being a creator is already a full-time job; you’re the writer, director, editor, and actor. Our job is to make their content work harder without asking them to do anything more.”

Creators maintain full ownership of their IP, and Moso handles everything else from selecting and editing videos to publishing and monetization. “There’s no transfer of rights,” Jean-Loup emphasizes. “We defend their IP and work under their name.”

The partnership begins with an onboarding analysis. “Together, we decide which platforms make the most sense,” Thomas says. “From there, the creator does nothing unless they want to. We adapt to their workflow and act as an operational arm of their business.”

Revenue comes through a rev-share model. Moso covers upfront costs and takes a percentage only when the content generates income. “Taking financial risk is hard for creators,” Thomas says. “We support them through that early phase. It’s only when and if it works that we share in the revenue.”

The Spotify Collaboration

One of Moso’s most visible projects has been its relationship with Spotify. The streaming giant, long synonymous with music, is expanding into video, and Moso has played a role in that expansion.

The relationship began with experiments to test whether creators’ video content could find an audience on Spotify without cannibalizing their YouTube performance. “We found there’s no cannibalization,” Thomas says. “It taps into a new audience that’s already on Spotify, but not on YouTube or Facebook.”

Seeing the opportunity, Moso helped migrate more than 100 creators to Spotify, transforming video into many creators’ second-largest revenue stream.

“They’re putting a lot of resources behind it,” Thomas says. “And we bring them the scale and quality control they need. Because of our system, you’ll never see a video on Spotify starting with ‘Welcome to my YouTube channel.’ Every upload is curated for the platform.”

Jean-Loup adds that the collaboration remains open. “Any creator can join, but we provide a safe, scaled way to do it.”

Rebranding and Growth

As Motion Society grew, its creators began affectionately shortening the name to “Moso.” The founders embraced the change. “It was a natural evolution,” Thomas says. “It felt simpler and reflected the closeness of our relationships with creators.”

Today, Moso operates across North America and Europe, with an expanding roster. Its momentum, the founders say, comes from proving that a creator-centric infrastructure can perform at global scale.

“This year has been a turning point,” Jean-Loup says. “We’ve shown that our model works across multiple platforms with hundreds of creators. Now we want to become the infrastructure layer of the creator economy – the invisible engine that powers optimization, distribution, and monetization worldwide.”

What Comes Next?

Regarding the creator economy’s direction, Thomas sees a maturing industry. “It’s becoming less about viral fame and more about operational excellence,” he says. “Creators need structure, processes, and data to behave like scalable media brands.”

Jean-Loup agrees, noting that AI is reshaping production economics. “Costs are going to the floor, but people’s attention time doesn’t scale,” he says. “The creators who stand out will be the ones who understand how to adapt content for each platform and speak the native language of their audience.”

Both founders view Moso’s mission as long-term infrastructure rather than short-term trends. “In three to five years, we aim to be the system that makes multi-platform creativity possible for every creator,” Jean-Loup says. “To reconcile how creators scale and how platforms evolve in a smooth and organized way.”

He adds what could double as Moso’s guiding principle: “We love content, we love creators, and we love IP. We’re just lucky to help make it all work.”