ITV

Category: Kids

  • Efforts to procure creative local content for ‘DD kids’ under way, says Supriya Sahu

    NEW DELHI: Doordarshan director-general Supriya Sahu has said that efforts were in progress to explore and procure creative local content that appeals not only to children but also to adults in the proposed DD Kids television channel.

    Sahu said that it was important that children should not be treated as a commodity to attract advertisements as was happening in some private channels, and therefore the content has to be strong and specific to them.

    Speaking at the launch of the ninth edition of Gali Gali Sim Sim, she said programmes such as DD’s ‘Main kuch bhi kar sakti hoon’ which is among the top 10 programmes in India showed that meaningful content could also be made interesting and entertaining.

    Sahu said the idea of a channel for children had come up when a DD team visited Uttar Pradesh villages to examine the reach of FreeDish. In spite of the free offering, she said, she found that several homes did not take FreeDish because it did not have any channel for children.

    Earlier, Sahu had told indiantelevision.com that the pubcaster had earlier in the year sent a concept note to the information and broadcasting ministry which had now asked it to work out details. Sahu said that the pubcaster was presently studying possible partnerships and various models, apart from studying the availability of content.

    She said that she was confident that this would “materialise soon”.

    Sahu also pointed out that the durect-to-home platform of Doordarshan, FreeDish, had all kinds of programming but nothing for the kids. It was therefore considered important to launch such a channel. She said DD Freedish was reaching 22 million homes at present and so there was no reason for not having a channel for the young.

    In fact, she said the issue had also been discussed at FICCI Frames in March this year. It was pointed out that kids’ channels in India were roughly about three per cent of the total number of channels with limited Indian content. Programming for children for television is a responsible job; sensible children’s programming has the objective of making youngsters imbibe a sense of responsibility and morality.

    To strengthen the kids’ content industry and bring about sustainability, stability and growth to the artiste community and other stakeholders in the industry, there was consensus that India needs a free-to-air terrestrial kids channel. There was general agreement that, since Doordarshan is the only channel to have such a wide reach, it is the only capable broadcast channel to make kids content available on a wide scale nationally.

    At DD, she had said, they were working hard to create a dedicated content think tank of experienced personalities to rope in the best content and mentor progression. Earlier in 2015, the wishlist of the Federation of Indian Chambers of Commerce and Industry included a plea to the pubcaster to launch DD kids.

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  • Disney gives 2D characters physical form

    MUMBAI: Disney Research has reportedly developed a method based on cable-driven mechanisms that can help artists give physical form and motion to two-dimensional characters. It uses assemblies of joints and cables to make poses and desired motions in a character.

    Cables can only exert force in one direction – by pulling – so fully actuated joints demand two cables to move in both directions, PTI reported. In using the method to design and constructing its 2D “Fighter,” US researchers showed that the mechanical character was able to achieve the desired poses with accuracy. The design for the lower body initially included 1,600 cables; the number was eventually reduced in 25 seconds to eight; further refinement took just 181 seconds to reduce the number of cables to three. The 2D gripper they designed and built was able to pick up the light objects it was designed to lift. The robotic hand, with three fingers and a thumb, demonstrated that the method could be used to combine cable drives in more than one plane.

    Assemblies of joints and cables are capable of helping in achieving desired poses and motions in a character, even when artistic preferences dictate limb sizes that make it infeasible to place motors at each joint, PTI reported. The cable-driven mechanism is also suitable for devices such as robotic hands, that must be lightweight and small to function.

    The Disney team, supported by researchers from the MIT (Massachusetts Institute of Technology), ETH Zurich and the University of Toronto developed the method which was presented at Symposium on Computer Animation (SCA) 2017 in Los Angeles (U.S.). The team developed a method in which a user designs a skeletal frame or other assembly of rigid hinges and links and then specifies a set of target poses for those assemblies.

    Research scientist Moritz Bacher says that the advent of consumer-level 3D printing and off-the-shelf yet affordable electronic components gave artists the machinery to make physical and articulated versions of animated characters. He says his approach eliminated much of the complexity of designing those mechanisms.

    US researchers from MIT demonstrated their method by designing a 2D puppet-like version of an animated character that is able to assume several desired fighting stances. They also used it to design a gripper for picking up light objects and a simple robotic hand with an opposable thumb.

    Disney Research VP Markus Gross says that a number of design tools developed over the past 30 years had enabled artists to instill life into animated characters, creating expressions by posing a hierarchical batch of rigid links. In the age of animatronics and robotics, he says, one needs to give hobbyists and artists similar tools to make animated physical characters just as expressive.

    The Disney team, in this case, designed devices that were not intended to interact with people. They sought to minimise the number of cables, and eventually incorporated springs into the joints to move them in the opposite direction when the cable tension was eased.

    The method computes a cable network that can reproduce those poses, first generating a large set of cables – typically a thousand or more – with randomly chosen routing points. Redundant cables are then gradually removed. The routing points are then refined to take into account the path between poses, and further reduce the number of cables and the amount of force necessary to control them.

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  • Doordarshan in talks with Disney for kiddy content in evening slots

    MUMBAI: Doordarshan, which is gearing up to launch a kiddy channel as part of its bouquet, is said to be in talks with Disney for content aimed at youngsters in evening time-slots, according to a senior executive of the pubcaster.

    Speaking to Indiantelevision.com, Doordarshan DG Supriya Sahu, while asserting the organisation is planning a kids’ channel, confirmed that there’s a plan afoot to open a time-slot for such programming. “Some work is already on with Disney for the kids content,” she said, but hastily added, “It is (still) early to talk about it right now and an announcement would be made once things are finalized on this front.”

    This time-slot on a DD channel is being created, probably, to test waters and see the appetite for kids content before the launch of a full-fledged kids channel as part of its over 30-channel bouquet. Disney India could not be contacted for comments.

    According to earlier media reports, which quoted Sahu, India’s national broadcaster had drawn up a blueprint for FTA kids channel early 2017 made up of largely original and country-focused programming. She had said that the kids channel was part of pubcaster’s plans to launch FTA sports and kids channel for mainly viewers of DD FreeDish, a satellite-based service comprising DD and private FTA TV channels.

    However, some independent observers opined that DD wading into the kids’ content area is also part of the government’s plans to showcase programming that would reflect the Indian culture in a better fashion compared to mostly foreign content consumed by Indian children presently.

    At present, kids’ content available in India is from the stable of foreign players such as Nickelodeon, Turner, Disney, Discovery and lately Sony Pictures Network apart from some TV channels from India media companies such as Sun TV.

    ALSO READ:

    Doordarshan D-G Supriya Sahu says studying tie-ups & models as kids channel launch nearing

    DD’s kids channel could partner private players, launch this year

  • Keshet hires kids content veteran Nicola Andrews to lead acquisitions & sales

    MUMBAI: Keshet International (KI) has appointed Nicola Andrews, a kid’s content expert with more than 20 years’ experience, to lead its recently announced kid’s division. Nicola joins KI as Senior Sales & Commercial Director, Kids, based in London, reporting to Keren Shahar, COO KI and President of Distribution. Nicola will spearhead the company’s sales and commercial operations within the kids and family genre, including acquisitions, co-productions and worldwide sales.

    Nicola’s appointment marks KI’s next phase of expansion in the kids’ content space. It recently formed a partnership with the Ananey Communications Group, which represents the Viacom brands Nickelodeon, Nick Jr., MTV and Comedy Central in Israel, to bring teens’, tweens’ and kids’ series in the global market. Nicola will actively look for new programming opportunities for KI and will be in attendance at the Children’s Media Conference in Sheffield (4 – 6 July).

    With a long career in television, Nicola brings a wealth of experience to the new role including television distribution, acquisitions, sales, business affairs, production, licensing and merchandising, retail and advertising sales.

    Prior to joining KI, Nicola was VP of Distribution at Gaumont Television, where she was responsible for selling the firm’s line-up of children’s programming internationally, as well as its French and US scripted dramas. Nicola has also held posts as Head of Acquisitions at Cineflix Rights, Managing Director of London based animation studio BKN New Media and senior sales positions at Sony Pictures and Carlton International.

    Keren Shahar, COO KI & President of Distribution said, “Nicola is joining KI at a very exciting time, as we continue to expand the business and diversify our content. With her unrivalled expertise and excellent relationships, I have no doubt that she is just the person to establish KI as a formidable competitor in the kid’s content market. ”

    Nicola Andrews, KI Senior Sales & Commercial Director, Kids said, “The prospect of leveraging KI’s distribution and production expertise in the kids business is incredibly exciting, as is the company’s long-term commitment to invest at every stage of the value chain, build solid international brands and exploit them worldwide. The kid’s content sector is entering a new and dynamic phase and we are responding with some ambitious but achievable goals which take advantage of the opportunities available to us.”

    Kelly Wright, formerly Head of Latin America and Executive Advisor for Asia-Pacific, has been promoted to VP of Distribution and New Business having played an integral role in driving KI’s distribution strategy, expanding its operations across each region and establishing of KI’s local production arm, Keshet MX in Mexico City. Limor Gott Ronen has been promoted to VP of Marketing and Communications having built the KI brand from its inception and devised marketing, communications and corporate strategy underpinning the break into new markets as well as full portfolio packaging and positioning.

  • Cars 3 breaks the record for collaborations with 40 brands

    NEW DELHI: Disney India’s Consumer Products business, which opened its Cars 3 in theatres today, has collaborated with 40 brands across categories to bring alive the world of Cars.

    This is the highest number of brand associations for any animation movie in India, followed by Disney.Pixar’s Finding Dory at 16 brands.

    In the live action genre, Dosney is still in the lead with 70 brand associations for Marvel’s Captain America: Civil War.

    Disney.Pixar’s Cars 3 has released today in English, Hindi, Tamil and Telugu. The first part of Cars had come in 2006 and the second one Cars 2 came in 2011.

    Directed by Brian Fee with music by Randy Newman, it has the screenplay by Dan Gerson, Robert L. Baird, Bob Peterson, and Mike Rich, and has been produced by Pixar and Walt Disney Pictures.

    Category and the Brand details:
    · Apparel: Myntra, Max, Pantaloons, Bioworld and more
    · Accessories: Crocs, Bata, Titan, E-Gamme and more
    · Publishing: Parragon India
    · Stationery: HM International, SKI and more
    · Toys: Mattel, Lego, Funskool, My Baby Excel, Hero and more
    · Home: Servewell, Ddecor, Welspun, Setner
    · Retail & E-commerce: Amazon.in, Hamleys, Landmark, Crossword and more
    · Media promotion: Duracell, PayTM

    Everyone’s favourite racecar champion Lightening McQueen is going to face the toughest challenge of his athletic career yet in Disney.Pixar’s Cars 3. Before one can catch Lightening McQueen and his friends and his challengers in a theatre nearby, consumers can experience the magic of the story with products across categories.

    The upcoming releases from Disney India’s Studios business will include Marvel’s Thor: Ragnarok and Star Wars The Last Jedi.

  • Doordarshan D-G Supriya Sahu says studying tie-ups & models as kids channel launch nearing

    NEW DELHI: Doordarshan is actively working on an exclusive channel for entertainment for the young ones, and is currently preparing a detailed note in this connection.

    Doordarshan director-general Supriya Sahu said the pubcaster had earlier in the year sent a concept note to the Information and Broadcasting Ministry which had now asked it to work out details.

    Consequently, Sahu told indiantelevision.com that the pubcaster was presently studying possible partnerships and various models, apart from studying the availability of content. She said that she was confident that this would “materialise soon”.

    Sahu also pointed out that the direct-to-home platform of Doordarshan, FreeDish, had all kinds of programming but nothing for the kids. It was therefore considered important to launch such a channel.

    In fact, she said the issue had also been discussed at FICCI Frames in March this year. It was pointed out that kids’ channels in India were roughly about three per cent of the total number of channels with limited Indian content. Programming for children for television is a responsible job; sensible children’s programming has the objective of making youngsters imbibe a sense of responsibility and morality.

    To strengthen the kids’ content industry and bring about sustainability, stability and growth to the artist community and other stakeholders in the industry, there was consensus that India needs a Free-to-Air Terrestrial Kids Channel. There was general agreement that, since Doordarshan is the only channel to have such a wide reach, it is the only capable broadcast channel to make kids content available on a wide scale nationally.

    Sahu had given the example of a Doordarshan team which travelled extensively to villages to talk to people. Almost every house had a connection of FreeDish except for one. Sahu was told by the elders in the house that this was because there was no channel for kids. “So, it makes not only a good business sense for DD to launch a kids channel but also important from the Indian context,” Sahu had said.

    She had said that at DD, they were working hard to create a dedicated Content Think Tank of experienced personalities to rope in the best content and mentor progression. Earlier in 2015, the wishlist of the Federation of Indian Chambers of Commerce and Industry included a plea to the pubcaster to launch DD Kids.

  • TV also for info, 62% kids feel & 50% access Net independently: Kantar IMRB

    MUMBAI: In an attempt to delve deep into the Indian kid’s market and understand their interaction with their environment, Kantar IMRB has launched its annual property KidScan.

    The study draws up a holistic report on how kids consume brands – with a special focus on food, beverages and related categories. A segment on how media is consumed – with a special focus on television and emerging media also forms an integral part of the study. It also unearths the level of peer influence and its implications on the kids’ purchase & consumption, their ambitions, key drivers and barriers to choice, lifestyle, the amount of pester power they yield, parental pressure and much more. In a nutshell KidScan serves the purpose of a handbook for marketers relevant to the space.

    The quantitative study combines innovative approaches utilizing both face to face and self-filling questionnaires. The findings are derived from a robust sample size of 2500 kids in the age group of 5 years- 14 years and an equal number of parents, belonging to New SEC A, B & C households, spread across 14 cities in the country.

    The study also highlights the real time record of kid’s regular activities and analyzes the communication conundrum to get the brand message across. This study shows that kids act as brand consultant for categories that are targeted to them as well as for big ticket brands operating in categories like consumer electronics, automobiles, etc.

    To better understand the kids’ views on the outlook for retail industry, this study shares some insights like 69% of the kids thinks it is important to wear latest fashion. It also breaks the clutter in the market which helps brands to deliver the target message across.

    The study also seeks to understand the product trends of different industries. Advertising also plays a huge role to shape kids’ preferences and influence them to buy brands. 36% of the kids claim to definitely go and buy the product because they felt that the ad was nice. Same goes for the Digital and Television categories, where 62% of the kids feel that TV is not only for entertainment but also a source of information. For example, 63% of the kids watch English channels to improve their English. The study found that in Digital category, 17% of the Kids who use internet, have accounts on Facebook and they mostly use Facebook for Chatting (15%) and 55% of internet users feel internet is a close ‘buddy’.

    With the ability to demonstrate how kids act as brand consultants / active agents, Kantar IMRB’s KidScan is a marketers’ minefield of information.

    Key Learnings

    1. Wearing Latest Fashion is Important for 69% of the Kids
    2. Deciding what to wear evokes a feeling of confusion in 41% of the kids
    3. 62% of the Kids feel that TV is not only for entertainment but also a source of information
    4 77% of the Kids feel that it is important to save money for the future
    5. 1 in 2 Kids access Internet without anyone’s help
    6. 4 in 10 kids watch serials even when their mother is not watching
    7. 63% of the kids watch English channels to improve their English
    8. Kids spend 48 minutes on an average school day and 60 minutes on a holiday using a mobile phone/tablet
    9. 63% of the Kids spend their pocket money on biscuits
    10. 36% of the kids claim to definitely go and buy the product because they felt that the ad was nice

  • Effective story-telling in India is yet to evolve, says Viacom18 SVP Anu Sikka

    MUMBAI: The animation services market in 2016 mostly continued to be dominated by outsourced projects from television and film sectors, which accounted for around 85 per cent of the total animation services turnover in India. However, there are a few exceptions such as Nick, which has been the leader in the genre for years according to audience measurement data.

    `Motu Patlu’ films on Nick, which is part of the Viacom18 family, have been ruling the roost mostly in the top-five list. `Motu Patlu 36 Ghantey Race Against Time’, `HFF-Motu Patlu In Double Trouble’ and ‘Motu Patlu Kung Fu Kings’ have all been leading in the kids’ genre. The broadcaster along with Viacom18’s movies division also introduced the first 3D theatrical of Motu Patlu i.e. Motu Patlu King of Kings, that was a success.

    “We have always conceptualised our own content allowing us to develop our own IPs. The quality, uniqueness and strength of our concepts and stories have ensured that our content remains relevant and sticky, establishing a strong connect with our young viewers, Viacom18 head, programming & content – kids entertainment cluster Anu Sikka told indiantelevision.com.

    While dwelling on programming strategy for Nick, she added: “With our strategy, we have managed to drive the trend and take on the leadership mantle in the highly under-indexed kids category.”

    Adventure and mystery show `Gattu Battu’, which is the fourth made in India character from Nickelodeon, has been running successfully after an encouraging opening on 1 May, 2017. `Pakdam Pakdai’, `Motu Patlu’, `Shiva’ and `Gattu Battu’ are shows that cater to the discerning entertainment needs of the young viewers.

    “We aim at creating differentiated kids content for the age-group between 2 and 14 years, investing significantly in television movies such as `Motu Patlu’ and `Pakdam Pakdai’,” Sikka informed.

    Apart from boasting of one of the most popular shows in the kids’ category, `Motu Patlu’, which is produced for Viacom18 by its partner Cosmos-Maya, the company also holds a record of having a large homegrown, made in India content bank within a short duration. `Motu Patlu’ followed by Pakdam Pakdai and then `Shiva’, which launched during Diwali last year, has created a new success yardstick for animation content in the Indian market, Viacom18 claimed.

    The Indian animation and VFX industry grew at 16.4 per cent in 2016 to reach a size of INR 60 billion, driven primarily by a 31 per cent growth in VFX, with animation remaining steady at a growth rate of nine percent, as per the KPMG-FICCI Report 2017.

    Dwelling on the investments Viacom18 generally makes for producing an animation show for kids, Sikka said that it could range between Rs 5 million and Rs 20 million, depending on various factors such as the intricacy and complexity of the animation, graphics and the script. “We have focused on creation of IPs allowing us to extend our characters to beyond television into other categories such as consumer products and movies etc., allowing us to create an entire ecosystem and facilitate monetisation,” Sikka said.

    The uptake of domestic / Indian content may be a key growth driver for the animation industry, and the expected uptake of digital consumption through OTT platforms will add to the increasing demand for localized content. The animation IPR production segment, in 2016, grew at a faster rate owing to increasing demand for localised animation content and characters developed for the Indian market across OTT and TV.

    According to Sikka, the ratio of local to foreign content was between 50 and 60 per cent in favour of Indian content.

    “We are the pioneers in owning the intellectual property rights (IPRs) by producing our own shows with the intent of building an ecosystem and in the process, started a trend,” Sikka said. Once Viacom18 has the IPRs in place, it commissions different production houses to execute the projects, preferring to buy out entire rights than get into joint productions.

    The Indian animation and VFX industry is estimated to expand at a CAGR of 17.2 per cent over 2017–21 to reach a size of Rs 131.7 billion, driven by a steady 9.5 per cent growth in animation and a 25 per cent growth in the VFX segment. Although animation in India has come a long way as compared to the situation 10 years ago, Sikka was of the opinion that the audience would lap up stories if those were well told, and that’s why Viacom18 prefers curating its own concepts and owning the IPRs too. “Occasionally, we hear out concepts and stories when some production houses approach us, but there are very few that strike a chord,” she added.

  • ReachMe in US hotels and airports, announces India’s Toonz TV

    MUMBAI: India’s Toonz Media Group’s new kids channel will now be distributed via ReachMe.TV’s in-hotel and in-airport networks in the US. Toonz TV is planning to roll out internationally in the third quarter of 2017.

    Toonz Media has partnered with Los Angeles-based mobile entertainment network ReachMe.TV, a multi-channel, digital TV entertainment network and integrated global distribution platform that reaches viewers on the go, to launch Toonz TV, a new animation-focused family and kids channel.

    ToonsTV is the home of the wildly popular Angry Birds Toons series, the first-ever animated series from Rovio Entertainment, and hand-selected family entertainment shows from around the world. ToonsTV is available on all Angry Birds apps (on iOS and Android devices) the ToonsTV website, Roku video streaming players and Samsung Smart TVs.

    Toonz TV telecasts content of cost, including a Toonz Channel and selection of television series on ReachMe.TV’s mobile web platform, that’s now available to a potential audience of over 100 million US viewers, Kidscreen reported.

    ReachMe.TV’s round-the-clock hotel network at present reaches over 750,000 rooms in top-tier US hotels with an estimated reach of 30 million viewers per month. Its in-airport screens reportedly reach approximately 80 million-plus viewers per month in the top 50 US airports.

    The channel takes content from Toonz’s international animation catalogue, and also shows produced by Toonz’s Thiruvananthapuram-based studio and ReachMe.TV’s production centre space in Hollywood.

    Toonz TV will additionally support families on the go with complimentary in-room movie packages, games and popular downloads.

    Interactive games that incorporate VR and AR are also under way, and a section of ReachMe.TV programming will be accessible on Toonz’s global multi-channel network that operates on platforms including Dailymotion, YouTube, Roku, YuppTV and Amazon Prime.

    Toonz recently tied up with Sharmaji Productions to create Uma and Devan Namaste!, the maiden preschool series about an Indian-American family. Toonz had earlier secured collaborations with major players including Marvel, Disney, Universal Pictures, Paramount Pictures, BBC Worldwide, Sony Pictures, Cartoon Network, Nickelodeon, Discovery Kids and Google.

  • Nickelodeon introduces pre-school videos in NOGGIN App

    MUMBAI: The new interactive, play-along pre-school videos created by new proprietary suite of technology allows Nick’s creative teams to produce linear and interactive digital video simultaneously,

    Nickelodeon, the number-one kids entertainment brand, is introducing a brand-new collection of interactive, curriculum-driven preschool episodes in its NOGGIN video subscription service, beginning June 1 initially on iOS platforms. Nick’s play-along preschool videos were created by an in-house team using a proprietary authoring tool which enables the simultaneous creation of interactive digital content alongside the production of linear TV content. This inaugurates the use of a new production model that can grow across all Nickelodeon’s platforms moving forward.

    “The introduction of our play-along videos mark the evolution of preschool interactivity that Nickelodeon initiated with Blue’s Clues and Dora the Explorer,” said Matthew Evans, Executive Vice President, Digital and New Business, Nickelodeon Group. “We can now transform our linear production capabilities through an authoring tool of our own design that allows us to create complementary interactive, digital video that truly lets kids participate in, and learn from the story.”

    Nickelodeon’s play-along videos allow preschoolers to engage with their favorite characters by tapping, touching, swiping or speaking to navigate through enhanced educational experiences that promote science, technology, engineering, math and social-emotional skills–all while having fun every step of the way. At launch, more than 30 play-along videos will be introduced, including Blaze and the Monster Machines, Bubble Guppies, Team Umizoomi and short-form content featuring longtime beloved characters Moose and Zee.

    Nickelodeon’s new play-along video authoring tool puts the ability to create interactive digital content into the hands of Nick’s show creators, producers and animators. The tool supports real-time scene editing and a live preview that allows the teams to layer in interactive elements, to create brand-new play-along moments within any episode. Interactive writers and producers can also be integrated into a show’s creative team, allowing them to generate engaging, story-driven interactive videos from the start of a production and deliver both linear and play-along versions of the same episode simultaneously. Additionally, the play-along video player can be integrated into the existing Nickelodeon video apps, eliminating the need to download a separate app.

    Nick’s play-along videos were also created in partnership with curriculum and research consultants who helped shape the interactions to enhance the existing educational value of the shows. Throughout each interactive adventure, kids engage with content that fosters the development of cognitive, social and emotional skills.

    NOGGIN is an ad-free, video subscription service that features hundreds of iconic, full-length library episodes, short-form videos, educational content, music videos featuring preschoolers’ favorite Nickelodeon characters, and more, with new content added weekly. Consistently ranking at the top of the charts in the Family and Kids categories, the NOGGIN App is one of the top 10 grossing Kids apps on the App Store, in addition to being the number-one grossing app for Music and Video in the Family Category on Google Play. NOGGIN was also selected by Apple as an Apple TV app of the year. Currently available for iPad, iPhone, Apple TV, Android, Fire tablet and Roku devices, NOGGIN has 25 series to date including the recently added Yo Gabba Gabba!, Trucktown, Miffy and Friends and Teletubbies. Additional titles in the NOGGIN lineup include Blue’s Clues, Go, Diego, Go!, Franklin, The Backyardigans and Pocoyo, among others.