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Tag: Kids content

  • YuppTV- Cosmos-Maya partner for kids content

    YuppTV- Cosmos-Maya partner for kids content

    MUMBAI: Cosmos-Maya and YuppTV have entered into a partnership paving the way for more kids content on the over-the-top platform. Cosmos-Maya owns a content bank of more than 1000 hours and runs a highly successful bouquet of digital channels under the umbrella brand WowKidz. The latest offering by WowKidz on YuppTV will be available from 27th April.

    “We are pleased to venture into the kids’ entertainment space with Cosmos-Maya. Kids are a very captive and influential audience and with the help of Cosmos Maya’s popular content on WowKidz we hope to expand our content library and offer them a spectacular experience on our platform. This association aligns with our vision of creating an offering that caters to audiences of all age groups,” YuppTV CEO Uday Reddy said.

    With the help of this association,  Yupp TV subscribers will be able to enjoy popular shows such as Motu Patlu , Vir – the Robot Boy, Chacha Bhatija, Eena Meena Deeka, Kisna among others. The Kids content on YuppTV will be available in three languages Hindi, Tamil, and Telugu.

    “YuppTV enjoys an envious reach across the global diaspora with over 14.5 million mobile downloads worldwide and this partnership will allow us to reach this audience in multiple Indian languages. With the introduction of our specially curated content on WowKidz, YuppTV too will be engaging with a new audience for the first time. Through this association we hope to introduce our content to kids across geographies especially in the US, UK, Europe, Australia, Canada, etc. further augmenting our footprint across the world,” Cosmos-Maya CEO Anish Mehta said.

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  • Changing dynamics in consumption of kids content

    Changing dynamics in consumption of kids content

    MUMBAI: Producing content to consume for today’s kids is no child’s play. Data and trends on kids content consumption across media-electronic and print goes a long way in impacting decisions made by commissioning editors and TV programmers. A panel at the just concluded FICCI Frames 2015 titled “Decoding Kids’s Content Consumption” presented such data and trends.

     

    On the panel were Eurodata TV Worldwide International senior sales manager Eric Lentulo, Viacom 18 Media EVP and GM Sonic and Nickelodeon India Nina Jaipuria, BARC chief business officer Romil Ramgarhia, IMRB International group business director Ashish Karnad and Stratagem Media CEO Sundip Nagpal. The session was moderated by FICCI AVGC Forum chairman Ashish Kulkarni. 

     

    Lentulo shared some crucial insights from various reports of studies conducted by the company. He said that kids in Asia were viewing less amount of kids content as compared to their US and European counterparts with an average viewing daily time of 2:32 minutes. In Germany, sports worked best for kids with nearly 95 per cent of the kids under the research having watched the FIFA World Cup Final. In Canada, the Super Bowl brought in large traction kids viewers. “Kids are watching content on smart phones as well as tablets but television is the firsts screen for children,” Lentulo observed. 

     

    Providing an Indian perspective, Nagpal said, “Younger kids spend just 30 per cent of their time watching kids channels in India, 35 per cent of GEC content, and the remaining 30 per cent of other content.” He went on add that TAM data showed that young mothers spend just six per cent of their time watching the content viewed by their wards. “The kids genre is popular across metros and one million plus towns and even in towns with population less than one lakh people. While Maharashtra and Gujarat were well performing markets for the genre, Kerala is missing out on children’s content.”

     

    On the other hand, as per Karnard’s study in 2013, two out of three kids seek entertainment primarily to reduce stress and tension from studies. The second primary reason was to seek information. “Three out of the four kids prefer watching content in Hindi rather than in English, while they love animated characters that help others. When they are alone, they would use mobile phones and computer games, they would utilise television to watch music and shows. On the other hand, when in company of their friends and family, they would play outdoor sports and watch movies and sports on television,” Karnard stated.

     

    Having the last word on the subject, Jaipuria said, “While kids today are consuming content on various devices, TV is here to stay for a while.” According to her, kids latched on to television for two reasons: 1) They were terribly bored and seek it as a form of entertainment value. 2) They wanted an escape route where they are able to run from a competitive world to one of fantasy. “Animation is the only medium that can transform them to an imaginative world,” she added.

     

    Highlighting an important point from the perspective of a kid’s broadcaster, she said that they were a safe genre and hence parents trusted the network for its content. Storytelling too was crucial along with quality dubbing and environmental sounds that together made up for solid content. “The primary factor that drives this category is the element of fun and being mischievous and kids are looking for honest values,” she said.

     

    The other elements that children looked for in a character were looks (dressing, style and smile), fantasy (talking about gadgets) and values that the characters stood up for. Throwing light on whether language made a difference, Jaipuria said, “It is the character, bond and relationships which brings them to TV. Language only breed familiarity. Local content is currently edged out because we started off late.”

     

    For the category that is growing at nine per cent and sees under two per cent ad revenue, Jaipuria informed that with carriage fees going down and subscription going up, there was space for further segmentation.

     

    Ramgarhia added that with the coming of BARC, the audience measurement platform would cover everything that India watched including the rural markets. “As more segmentation takes place, a lot of thrust will be placed on kids channels. Nine is the new 14,” he said, adding that moving ahead it would be their endeavour to expand the panel that monitors channels.

     

  • Gaming apps, YouTube, publishing can boost revenue for kids content producers

    Gaming apps, YouTube, publishing can boost revenue for kids content producers

    MUMBAI: Kids content is being developed worldwide primarily through satellite or public broadcasting or a combination of both. In the absence of a strong public broadcasting model, content creators can become completely dependent on satellite broadcasting only. Thus it becomes a challenge to build larger than life character brands from which alternate sources of revenue can be milked for higher returns. However, can Indian children’s programming develop towards embracing emerging alternate revenue sources in the digital age?

     

    At a FICCI Frames 2015 discussion titled, “Emerging alternate revenue sources for kid’s content,” panelists shared their experiences. On the panel were, Dream Theatre founder and CEO Jiggy George, Disney India VP and head consumer products Abhishek Maheshwari, Aditya Horizons founders GD Bakshi and Aditya Bakshi, Yaboho New Media founder and CEO Hitendra Merchant and Reliance Entertainment Digital CEO Manish Agarwal. 

     

    Panelists shared their views on how alternate sources of revenue for kid’s content can be monetized.

     

    Yaboho New Media founder and CEO Hitendra Merchant

    According to Merchant, when the multi-channel network started off it realised that it did not have to be a multi-national company (MNC) based in North America to create strong digital content. “We create pre-school content and we are one of the largest preschool content creators on YouTube.”

     

    He also said that a digital multi-channel network content provider did not have to rush towards a broadcast network to put forth their content. The changing dynamic of the media space, according to him, presented two opportunities. One was through YouTube, which could help monetize kid’s content and secondly through gaming apps that kids were increasingly using today. “Both are driven by storytelling, for example Angry Birds,” he explained.

     

    Disney India VP and head consumer products Abhishek Maheshwari

    Explaining about a large brand like Disney, Maheshwari informed that the revenue potential created through merchandising across categories like stationary and toys were a bigger source of revenue than the content itself (i.e films produced by the studio). “Publishing of our content both on print through books and on digital platforms are also value added propositions for us,” he said.

     

    He then went on to speak of the brand’s iconic journey so far the world over. The fundamental aspect to the success of Disney’s characters was that consumers were able to relate to the story and that later on translated towards revenue streams. “About 75 per cent of our focus is on storytelling. Mickey Mouse is a big gift that continues giving us maximum revenue across networks. ESPN as a sports brand is also a large contributor towards our overall revenues,” Maheshwari highlighted, adding that the brand was launching its next big theme park in Shanghai and the Marvel franchise was a big growth booster in India.

     

    Reliance Entertainment Digital CEO Manish Agarwal

    For Agarwal, gaming was going to become the next big reality in monetization of kids content. Illustrating his point through an example, he said that when parents today reached their respective homes, their smart phones were taken over by their kids in order to play games. Raising two key points, he said, “High speed internet without buffering issues was still a roadblock and secondly, propensity to pay for gaming apps is no longer a major issue as audiences don’t mind paying for the same.”

     

    He also remarked that the psychological roots of a gaming app pushed users towards purchasing items in the real world, which boosted additional revenues. Throwing in some vital statistics, he said that while a popular gaming app would easily see close to five to ten million downloads in a month, a newly created gaming app would receive a million downloads easily in a country like India because of a large market. Ads via these apps were revenue boosters too.

     

    Aditya Horizons founders GD Bakshi and Aditya Bakshi

    The father son duo are pioneers behind the brand called Indian War Comics. While GD Bakshi hails from a military background as he is a retired major general, his son Aditya is from a merchant navy background. “None of our educational systems today have values,” the former army man began. He said that the comics created by them were based on real life stories of Param Vir Chakra and Ashok Chakra real war heroes, who had laid down their lives for the country. “Values are not thought but caught,” he added. The target audience was sixth and seventh class upwards and the comics strive to propagate “national values.”

     

    Aditya, on the other hand, went on to explain that the comic company had tied up with institutions like schools, NGOs and self-help groups to distribute their comics as they found the traditional distribution systems daunting. The company’s step will be towards digital apps and toys in order to monetize.

     

    Dream Theatre founder and CEO Jiggy George

    George’s company is mainly into merchandising and licensing of content on three mediums i.e films, digital apps/games and television. For George, two trump cards that could help a lot in gaining from the licensing market in India were the size of the entertainment market and a rising consuming class that had strong and bigger pockets to purchase items. “In addition, local content on TV, like Chotta Bheem, will always perform better.”

     

    Towards the end, entrepreneurs were guided that they should explore the art of telling great stories for kids, while other monetizing options would follow. Catch them while they are young they concluded.