ITV

Tag: Netflix

  • Here’s what Netflix has to offer in ’17

    MUMBAI: Netflix subscribers are in for a treat. The subscription based video-on-demand service has announced the premiere dates for its original shows in 2017. The shows include new seasons of popular titles like Orange Is The New Black and House of Cards.

    The streaming service has also upped the amount of original programming this year. More than a dozen shows will return or debut on the platform this year, joining an expanding slate of original movies and stand-up specials.

    Project MC2 (February 14)

    Chef’s Table (February 17)

    Buddy Thunderstruck (March 10)

    Marvel’s Iron Fist (March 17)

    Love (March 10)

    Julie’s Greenroom (March 17)

    Grace and Frankie (March 24)

    Bill Nye Saves The World (April 21)

    Girlboss (April 21)

    Casting JonBenet (April 28)

    Dear White People (April 28)

    Anne (May 12)

    House of Cards (May 30)

    Orange Is The New Black (June 9)

    Netflix has also renewed The OA for a second season. Though, a release date has not yet been announced yet. The OA is about a woman named Prairie Johnson who returns to her family after vanishing for seven years. She comes back changed: she had been blind, but her sight has been restored, and she now calls herself The OA. Upon her return, she gathers a group of four teenagers and a high school teacher to talk about her experiences, then asks them to help save several other people, whom she claims are trapped in another dimension.

  • 66pc Indians polled access pirated content, consumer education vital: Irdeto

    66pc Indians polled access pirated content, consumer education vital: Irdeto

    MUMBAI: A new online consumer survey from Irdeto, the world leader in digital platform security, found that 71% of Indian consumers polled are aware that producing or sharing pirated video content is illegal, and 64% know that streaming or downloading pirated content is illegal. Despite this high level of awareness, 66% of respondents still choose to watch pirated content. However, the survey also found that over half (56%) of Indian consumers who watch pirated content could be convinced to pirate less, or even stop watching, when told that piracy could hinder studio investment and cause a drop in the quality of content. The online research was conducted in partnership with YouGov and polled over 500 Indian adults aged 18+.

    The research found that one in three consumers (30%) who watch pirated content in India are most interested in watching movies that are currently being shown in the cinema, followed by TV series (23%), and live sports (13%) and Blu-ray edition of movies (13%). Interestingly, only 6% of consumers who watch pirated content are interested in viewing digital service movies or TV programmes from content providers like Netflix, Hulu, etc. This reflects the state of video consumption in India, which is still rooted in a preference for local content but increasingly demonstrating an appetite for Hollywood content and more regional films.

    “India’s OTT market holds huge potential for operators and content providers, especially with the rise of 129 million urban mass consumers who will drive India’s consumer story. Demand for content on any device will only grow – but so will piracy if it is not adequately addressed,” said Irdeto country manager – India Sanjiv Kainth. “Piracy not only damages revenue streams, but also deters content creators from investing in new content. It impacts the creative process and could provide consumers with less choice. It is important that consumers are aware of the long term impact of this behavior, and that content providers have a 360-degree approach to security and anti-piracy that can prevent pirates from stealing additional market share.”

    In regard to the most popular devices used to consume pirated video content, Irdeto’s survey found that 48% of Indian consumers who watch pirate content use their laptops and computers most to watch this content while 25% use their smartphones. Streaming sites and devices were among the least popular channels to watch pirated content, standing at 1% each, while smart TVs, Google Chromecast and Android set-top boxes are used by a mere 3-4% of consumers, among those who watch pirated content.

    “Pirate businesses will continue to capitalize on increased demand for content, but innovative operators are making headway in the fight against piracy,” said Irdeto vice president of services Rory O’Connor. “Consumer education, a compelling legal video service and a robust security and anti-piracy program are the best ways to mitigate online and streaming piracy. A comprehensive anti-piracy strategy that includes watermarking, detection and enforcement can prevent pirates from stealing market share.”

    Methodology

    The research was commissioned by Irdeto and conducted online from January 11, 2017 – January 18, 2017 by YouGov. Total sample size was 502 Indian adults (aged 18+). The figures have been weighted and are representative of the urban population of adults in India (aged 18+).

     

  • Netflix facilitates downloads on Android memory cards

    Netflix facilitates downloads on Android memory cards

    MUMBAI: OTT and VOD services have been adding a variety of content and myriad features to attract more and more consumers to their service in India. India is one of the fastest growing smartphone-owning countries as hinted by Ericsson recently.

    Launched last year in India, Netflix, the entertainment streaming company, recently added the ability to download its dynamic entertainment content on memory card or expandable storage on Android operating system.

    Users can now download content on Android smartphones and tablets. Earlier, the company had opened up the ‘watch offline’ feature as a response to the growing business race from players such as Amazon Prime and Hotstar.

    The feature however is restricted to inbuilt storage. Players such as YouTube also have a similar limitation. But, the new feather in its cap could Netflix hike its user base in densely populated nations such as India.

    But, the new feature does not surprise Nougat or Android Marshmallow users as they could already avoid limitations by using the adoptable storage option.

    However, for those who can’t do this, they make use of Netflix app and move to the option of ‘download location’ and select from the storage options — SD card or internal storage.

    Also Read:

    Netflix confirms seven million subs; picks up Amazon gauntlet

    OTT/VOD disrupted traditional ‘appointment viewing’ in India: Spuul’s Subin Subaiah

  • Netflix facilitates downloads on Android memory cards

    Netflix facilitates downloads on Android memory cards

    MUMBAI: OTT and VOD services have been adding a variety of content and myriad features to attract more and more consumers to their service in India. India is one of the fastest growing smartphone-owning countries as hinted by Ericsson recently.

    Launched last year in India, Netflix, the entertainment streaming company, recently added the ability to download its dynamic entertainment content on memory card or expandable storage on Android operating system.

    Users can now download content on Android smartphones and tablets. Earlier, the company had opened up the ‘watch offline’ feature as a response to the growing business race from players such as Amazon Prime and Hotstar.

    The feature however is restricted to inbuilt storage. Players such as YouTube also have a similar limitation. But, the new feather in its cap could Netflix hike its user base in densely populated nations such as India.

    But, the new feature does not surprise Nougat or Android Marshmallow users as they could already avoid limitations by using the adoptable storage option.

    However, for those who can’t do this, they make use of Netflix app and move to the option of ‘download location’ and select from the storage options — SD card or internal storage.

    Also Read:

    Netflix confirms seven million subs; picks up Amazon gauntlet

    OTT/VOD disrupted traditional ‘appointment viewing’ in India: Spuul’s Subin Subaiah

  • Netflix confirms seven million subs; picks up Amazon gauntlet

    Netflix confirms seven million subs; picks up Amazon gauntlet

    MUMBAI: For all those media watchers who have been writing Netflix’s obituary in India, here’s a note of caution: take a few steps back, hold on to your fingers before banging in any other words on your keyboards. The global streaming services has come back with some smashing numbers in the latest quarter which should make the critics go red in their faces – with embarrassment, of course. And it is quite likely it will go back to the drawing board with a review of its India strategy.

    The company announced over the weekend that it had added 19 million new net subs in the year 2016 as against 17.4 million in 2015, finishing the year with 93.8 million subs. Its global streaming revenue during the period: a mindboggling $8.3 billion, reflecting a 35 per cent year on year growth.

    And its figures for the quarter ended 31 December 2016 are also noteworthy: it notched up its historical best Q4 net adds number at 7.05 million (against 5.20 million forecast and 5.59 million in Q42015). These net adds came both courtesy the US (1.93 million vs forecast 1.54 million) and the 190 countries it is present in (5.12 million Q4 2016 as against the 3.75 million forecast and 4.04 million achieved in the year ago quarter). The company says in a release that the contribution was broad based geographically and the impact of its content slate is likely to be felt even more in Q2 2017 as it rolls out the new shows it has commissioned and libraries it has acquired.

    The Reed Hastings-Ted Sarandos team has upped Netflix’s content budget to $6 billion for 2017 – 20 per cent more than it had laid out for 2016. The company has given a guidance of 5.12 million new net adds for Q1 2017 (3.7 million of these will be from outside the US).

    Estimates are that it has managed to rope in sub-100,000 subscribers in India and renewals have been tough to achieve. In fact, it sent down a team on a fact finding mission to figure out why uptake has not been blazing like in other parts of the world. And how it can appeal better to potential subscribers.

    Analysts expect some pricing corrections going forward, considering the aggressive pricing that streaming services such as Hotstar, Amazon Prime, ErosNow, YuppTV, Hooq are adopting.
    Then it hopes that its offline viewing mode it launched in Q42016 will also help do the trick in India where bandwidth is patchy at best, despite the speedy rollout of 4G services by Jio, Airtel, Idea and the freebie offers they are dishing out.

    The Netflix offline mode allows viewers on iOS and Android devices to download content for viewing later while traveling to work on subways, buses, planes etc. The company hopes that this feature will do well in countries with limited or expensive bandwidth. Says the press release: “We are pleased with the initial results and as expected enjoyment of offline viewing is greatest where the broadband infrastructure is less than robust.”

    Netflix is also banking on the appeal of Shah Rukh Khan to help do the magic in India and south Asia. Speculation is that it has invested hundreds of crores to acquire Red Chilies Entertainment’s forward and back catalogue. Then of course its first series adapted from Vikram Chandra’s Mumbai underworld thriller Sacred Games and produced by the edgy production house Phantom Films should see the light of day by mid to end 2017.

    If it does anywhere as well as Netflix’s first Brazilian original series 3% did, it could catapult the SVOD service to cult status amongst India’s millenials and mobile-toting generation. The Portuguese language scifi post apocalyptic thriller premiered last year as one of the most watched originals in Brazil as well as Latin America and was also watched by millions of subscribers in the US dubbed and subtitled in English.

    Netflix is quite confident that its 2016 global slate – which included award winning shows such as The Crown, Marvel’s Luke Cage, Gilmore Girls: A Year in the Life, The OA, Troll Hunters – will continue to generate traction in India.

    Netflix acknowledges in the investor release that Internet TV is evolving fast and becoming hyper competitive. Says the company: “Internet video is a global phenomenon. Amazon Prime Video expanded recently to match our territory footprint, while YouTube remains far larger than either of us in terms of global video enjoyment minutes. Video consumption is growing on Facebook, and Apple is rumored to be adding video to its music service. Satellite TV operators are moving to become internet MVPDs, such as ViaSat to ViaPlay in the Nordics, DISH to Sling, and DirecTV to DirecTV Now. Insurgent firms such as Molotov.tv in France and Hulu are building native-internet interfaces for TV network bundles. CBS is releasing a major original series ( Star Trek) exclusively on its domestic SVOD service (with us as international partner). Finally, the BBC has become the first major linear network to announce plans to go binge-first with new seasons, favoring internet over linear viewers. We presume HBO is not far behind the BBC. In short, it’s becoming an internet TV world, which presents both challenges and opportunities for Netflix as we strive to earn screen time. “

    It additionally states that Q42016 marked the tenth anniversary of its streaming launch. And the road ahead is quite clearly laid out. “The next decade will be even more amazing and tumultuous as Internet TV supplants linear TV and we strive to remain a leader.”

  • Netflix confirms seven million subs; picks up Amazon gauntlet

    Netflix confirms seven million subs; picks up Amazon gauntlet

    MUMBAI: For all those media watchers who have been writing Netflix’s obituary in India, here’s a note of caution: take a few steps back, hold on to your fingers before banging in any other words on your keyboards. The global streaming services has come back with some smashing numbers in the latest quarter which should make the critics go red in their faces – with embarrassment, of course. And it is quite likely it will go back to the drawing board with a review of its India strategy.

    The company announced over the weekend that it had added 19 million new net subs in the year 2016 as against 17.4 million in 2015, finishing the year with 93.8 million subs. Its global streaming revenue during the period: a mindboggling $8.3 billion, reflecting a 35 per cent year on year growth.

    And its figures for the quarter ended 31 December 2016 are also noteworthy: it notched up its historical best Q4 net adds number at 7.05 million (against 5.20 million forecast and 5.59 million in Q42015). These net adds came both courtesy the US (1.93 million vs forecast 1.54 million) and the 190 countries it is present in (5.12 million Q4 2016 as against the 3.75 million forecast and 4.04 million achieved in the year ago quarter). The company says in a release that the contribution was broad based geographically and the impact of its content slate is likely to be felt even more in Q2 2017 as it rolls out the new shows it has commissioned and libraries it has acquired.

    The Reed Hastings-Ted Sarandos team has upped Netflix’s content budget to $6 billion for 2017 – 20 per cent more than it had laid out for 2016. The company has given a guidance of 5.12 million new net adds for Q1 2017 (3.7 million of these will be from outside the US).

    Estimates are that it has managed to rope in sub-100,000 subscribers in India and renewals have been tough to achieve. In fact, it sent down a team on a fact finding mission to figure out why uptake has not been blazing like in other parts of the world. And how it can appeal better to potential subscribers.

    Analysts expect some pricing corrections going forward, considering the aggressive pricing that streaming services such as Hotstar, Amazon Prime, ErosNow, YuppTV, Hooq are adopting.
    Then it hopes that its offline viewing mode it launched in Q42016 will also help do the trick in India where bandwidth is patchy at best, despite the speedy rollout of 4G services by Jio, Airtel, Idea and the freebie offers they are dishing out.

    The Netflix offline mode allows viewers on iOS and Android devices to download content for viewing later while traveling to work on subways, buses, planes etc. The company hopes that this feature will do well in countries with limited or expensive bandwidth. Says the press release: “We are pleased with the initial results and as expected enjoyment of offline viewing is greatest where the broadband infrastructure is less than robust.”

    Netflix is also banking on the appeal of Shah Rukh Khan to help do the magic in India and south Asia. Speculation is that it has invested hundreds of crores to acquire Red Chilies Entertainment’s forward and back catalogue. Then of course its first series adapted from Vikram Chandra’s Mumbai underworld thriller Sacred Games and produced by the edgy production house Phantom Films should see the light of day by mid to end 2017.

    If it does anywhere as well as Netflix’s first Brazilian original series 3% did, it could catapult the SVOD service to cult status amongst India’s millenials and mobile-toting generation. The Portuguese language scifi post apocalyptic thriller premiered last year as one of the most watched originals in Brazil as well as Latin America and was also watched by millions of subscribers in the US dubbed and subtitled in English.

    Netflix is quite confident that its 2016 global slate – which included award winning shows such as The Crown, Marvel’s Luke Cage, Gilmore Girls: A Year in the Life, The OA, Troll Hunters – will continue to generate traction in India.

    Netflix acknowledges in the investor release that Internet TV is evolving fast and becoming hyper competitive. Says the company: “Internet video is a global phenomenon. Amazon Prime Video expanded recently to match our territory footprint, while YouTube remains far larger than either of us in terms of global video enjoyment minutes. Video consumption is growing on Facebook, and Apple is rumored to be adding video to its music service. Satellite TV operators are moving to become internet MVPDs, such as ViaSat to ViaPlay in the Nordics, DISH to Sling, and DirecTV to DirecTV Now. Insurgent firms such as Molotov.tv in France and Hulu are building native-internet interfaces for TV network bundles. CBS is releasing a major original series ( Star Trek) exclusively on its domestic SVOD service (with us as international partner). Finally, the BBC has become the first major linear network to announce plans to go binge-first with new seasons, favoring internet over linear viewers. We presume HBO is not far behind the BBC. In short, it’s becoming an internet TV world, which presents both challenges and opportunities for Netflix as we strive to earn screen time. “

    It additionally states that Q42016 marked the tenth anniversary of its streaming launch. And the road ahead is quite clearly laid out. “The next decade will be even more amazing and tumultuous as Internet TV supplants linear TV and we strive to remain a leader.”

  • Global OTT may expand at 14.5 per cent CAGR

    Global OTT may expand at 14.5 per cent CAGR

    MUMBAI: Over-the-top (OTT) content is the delivery of audio, video, images, and other media over the internet and bypasses traditional content distribution services. OTT services are mostly related to communication and media and are generally lower in cost than the traditional method of content delivery. OTT content, applications, and services are increasingly being adopted in all segments of commerce and society and are affecting and disrupting traditional industries at a significant pace.

    Consumers use online video instead of traditional television; online communications platforms instead of traditional telephone services; and today are able to download films and music that were once provided only on physical media. Additionally, the process of advertising and searching for services is increasingly moving to these online platforms. This has led to an exponential market growth globally. The global OTT content market is estimated to be valued at US$ 53.2 Bn by the end of 2016 and is expected to register a CAGR of 14.5% during the forecast period (2016–2026).

    Top OTT content market players are developing innovative marketing and distribution channels to enter and rule untapped markets. Some of the top companies operating in the global OTT content market include Akamai Technologies, Amazon.com Inc., Apple Inc., Facebook Inc., Google Inc., IBM, LeEco, Limelight Networks, Microsoft Corporation, and Netflix Inc. Several Indian companies have also entered the OTT content market in a big way. Some of the Indian OTT content market players include Star India Pvt. Ltd., Zee Entertainment Enterprises Ltd., Spuul, Eros International Plc., and Viacom 18 Media Pvt. Ltd, according to a PRNewswire release.

    Penetration of high speed broadband

    Growth in the penetration of high speed broadband, increasing mobile subscriptions and adoption of mobile connected devices, new features and advanced capabilities in smartphones, attractive pricing, and more content options are some of the major drivers fuelling the growth of the global OTT content market. Also, a shift in viewer preferences from the television format to a more customised, anytime, anywhere content viewing format is also boosting the growth of the global OTT content market.

    However this growth is hampered by factors such as online piracy activities, low bandwidth in emerging countries, lack of offline content availability, and technical challenges faced during OTT content delivery.

    Video content

    Video content type segment projected to be the most attractive segment over the forecast period. In terms of revenue, the video segment is anticipated to register a relatively higher CAGR of 15.8% between 2016 and 2026. This growth is attributed to extensive growth of high speed broadband infrastructure in emerging economies and popularity of subscription-based models in developed economies. This segment is expected to register high Y-o-Y growth rates throughout the forecast period.

    TVOD revenue model segment expected to register high Y-o-Y growth rates throughout the forecast period. The TVOD segment is estimated to register a CAGR of 15.8% during the forecast period. The AVOD segment is expected to witness significant revenue growth due to its ease of use; personalized, modern interface; and better viewing experience of AVOD services.

    Smartphones and Tablets

    Smartphones and Tablets device / platform type segment projected to be the most attractive segment over the forecast period. The smartphones and tablets segment accounted for a relatively high market value share in 2015 and this segment is anticipated to remain dominant through 2026. The dominance of the smartphones and tablets segment is attributed to increasing consumer preference towards these devices for availing OTT services such as video and audio streaming, social networking, and texting. The Smart TVs segment is expected to register high Y-o-Y growth rates throughout the forecast period and is anticipated to register a CAGR of 18.7% between 2016 and 2026.

    APEJ and Latin America

    APEJ and Latin America expected to be the fastest growing markets over 2016–2026. The APEJ OTT content market is projected to be the most attractive regional market in the global OTT content market and is anticipated to witness a CAGR of 24.6% over the forecast period. The market in North America accounted for a relatively high value share in 2015.

  • Global OTT may expand at 14.5 per cent CAGR

    Global OTT may expand at 14.5 per cent CAGR

    MUMBAI: Over-the-top (OTT) content is the delivery of audio, video, images, and other media over the internet and bypasses traditional content distribution services. OTT services are mostly related to communication and media and are generally lower in cost than the traditional method of content delivery. OTT content, applications, and services are increasingly being adopted in all segments of commerce and society and are affecting and disrupting traditional industries at a significant pace.

    Consumers use online video instead of traditional television; online communications platforms instead of traditional telephone services; and today are able to download films and music that were once provided only on physical media. Additionally, the process of advertising and searching for services is increasingly moving to these online platforms. This has led to an exponential market growth globally. The global OTT content market is estimated to be valued at US$ 53.2 Bn by the end of 2016 and is expected to register a CAGR of 14.5% during the forecast period (2016–2026).

    Top OTT content market players are developing innovative marketing and distribution channels to enter and rule untapped markets. Some of the top companies operating in the global OTT content market include Akamai Technologies, Amazon.com Inc., Apple Inc., Facebook Inc., Google Inc., IBM, LeEco, Limelight Networks, Microsoft Corporation, and Netflix Inc. Several Indian companies have also entered the OTT content market in a big way. Some of the Indian OTT content market players include Star India Pvt. Ltd., Zee Entertainment Enterprises Ltd., Spuul, Eros International Plc., and Viacom 18 Media Pvt. Ltd, according to a PRNewswire release.

    Penetration of high speed broadband

    Growth in the penetration of high speed broadband, increasing mobile subscriptions and adoption of mobile connected devices, new features and advanced capabilities in smartphones, attractive pricing, and more content options are some of the major drivers fuelling the growth of the global OTT content market. Also, a shift in viewer preferences from the television format to a more customised, anytime, anywhere content viewing format is also boosting the growth of the global OTT content market.

    However this growth is hampered by factors such as online piracy activities, low bandwidth in emerging countries, lack of offline content availability, and technical challenges faced during OTT content delivery.

    Video content

    Video content type segment projected to be the most attractive segment over the forecast period. In terms of revenue, the video segment is anticipated to register a relatively higher CAGR of 15.8% between 2016 and 2026. This growth is attributed to extensive growth of high speed broadband infrastructure in emerging economies and popularity of subscription-based models in developed economies. This segment is expected to register high Y-o-Y growth rates throughout the forecast period.

    TVOD revenue model segment expected to register high Y-o-Y growth rates throughout the forecast period. The TVOD segment is estimated to register a CAGR of 15.8% during the forecast period. The AVOD segment is expected to witness significant revenue growth due to its ease of use; personalized, modern interface; and better viewing experience of AVOD services.

    Smartphones and Tablets

    Smartphones and Tablets device / platform type segment projected to be the most attractive segment over the forecast period. The smartphones and tablets segment accounted for a relatively high market value share in 2015 and this segment is anticipated to remain dominant through 2026. The dominance of the smartphones and tablets segment is attributed to increasing consumer preference towards these devices for availing OTT services such as video and audio streaming, social networking, and texting. The Smart TVs segment is expected to register high Y-o-Y growth rates throughout the forecast period and is anticipated to register a CAGR of 18.7% between 2016 and 2026.

    APEJ and Latin America

    APEJ and Latin America expected to be the fastest growing markets over 2016–2026. The APEJ OTT content market is projected to be the most attractive regional market in the global OTT content market and is anticipated to witness a CAGR of 24.6% over the forecast period. The market in North America accounted for a relatively high value share in 2015.

  • Harvard Research on kids to kick off Kidscreen Summit 2017

    Harvard Research on kids to kick off Kidscreen Summit 2017

    TORONTO: Kidscreen is thrilled to announce that Dr. Richard Weissbourd, director of the Human Development and Psychology programme at Harvard University, will open 2017’s biggest event for leaders in children’s entertainment with the presentation of a new research study exploring why and how we are unconsciously undermining the development of empathy and caring in today’s kids.

    In the current socio-economic climate, where tolerance and understanding seem to be in short supply, it’s more important than ever to help kids develop these skills. So join us and find out how kids TV producers and media platforms can help children and parents learn to care for others—and also what kinds of messages and content strategies are important for counteracting the nastiness, scapegoating and incivility that seems to be pervading our culture right now.

    The full conference programme for Kidscreen Summit 2017is now available online (http://summit.kidscreen.com/2017/agenda/), and it’s chock-full of keynotes, panel discussions, presentations, debates and networking/pitching formats. Here are just a few highlights:

    Emotional Scheduling: How kids are organizing their own media lives
    Kids today are accustomed to having access to what they want, whenever they want it. But as it turns out, programming schedules still make sense to them, and they organize their media lives around factors like where they are, who they’re with, and what they’ve been doing or are about to do. Dubit’s David Kleeman discusses this new concept of “emotional scheduling,” which is critical to driving discovery and retention for anyone creating media for children.

    From Toys-to-Life to Life on Netflix: A Skylanders Academy case study
    Activision Blizzard’s Skylanders almost single-handedly created the US$4-billion toys-to-life category. And tasked with bringing the bestselling video game franchise to TVs around the globe, content arm Activision Blizzard Studios scored a worldwide deal with Netflix for Skylanders Academy, created by showrunner Eric Rogers (Futurama). In this session, the creative team behind the show will delve into its adaptation process and what we can expect to see next.

    Little Big Kids: Preschoolers ready for life

    Viacom recently undertook a huge global study of preschoolers—an adventure spanning 12 countries, 6,500 families, social media diaries and in-depth ethnographies—to find out what it means to be under six years old today. Christian Kurz, the company’s SVP of Research, Insight and Reporting, will for the first time unveil these latest findings on our youngest generation. And as an added bonus, real preschoolers—equipped with GoPro cameras—will give you a glimpse into their world.

    Surviving, Scaling and Making Money in the Kids Digital Space

    Is there a way to create and deliver fun, engaging and strictly regulated digital content to this generation of kids, but also build market share, profits and long-term brand loyalty at the same time? In this fireside chat, Jeff Imberman, CRO of kids ad platform SuperAwesome—and former SVP of Sales and Marketing at Nickelodeon—will answer this critical question and show how the kids digital ecosystem is something to be embraced, not feared. He’ll also divulge how the under-13 audience is already telling brands and content creators what they want—delivering success is just a matter of really listening to them.

    Set to run from February 13 to 16 next month, Kidscreen Summit 2017 will once again take place at the InterContinental Miami, a contemporary luxury hotel located on prime waterfront in downtown Miami, and just minutes away from South Beach, the Design District, Coconut Grove’s bohemian village, and the many galleries, restaurants and boutique shops in Coral Gables.

    In 2016, the event welcomed nearly 1,800 attendees from more than 50 countries around the world, including more than 450 kids programming buyers and investors looking for new content and partners. Its unique positioning as a conference AND a market lets delegates customize their Summit experience to suit their goals and priorities. Offering an unparalleled conference programme and networking opportunities, the event is the perfect place to learn about the latest trends, issues and opportunities and connect with the industry’s top decision-makers.

    Registration for Kidscreen Summit 2017 is still open. To sign up online or get more information, visit the event website at http://summit.kidscreen.com/2017/.

     

  • Harvard Research on kids to kick off Kidscreen Summit 2017

    Harvard Research on kids to kick off Kidscreen Summit 2017

    TORONTO: Kidscreen is thrilled to announce that Dr. Richard Weissbourd, director of the Human Development and Psychology programme at Harvard University, will open 2017’s biggest event for leaders in children’s entertainment with the presentation of a new research study exploring why and how we are unconsciously undermining the development of empathy and caring in today’s kids.

    In the current socio-economic climate, where tolerance and understanding seem to be in short supply, it’s more important than ever to help kids develop these skills. So join us and find out how kids TV producers and media platforms can help children and parents learn to care for others—and also what kinds of messages and content strategies are important for counteracting the nastiness, scapegoating and incivility that seems to be pervading our culture right now.

    The full conference programme for Kidscreen Summit 2017is now available online (http://summit.kidscreen.com/2017/agenda/), and it’s chock-full of keynotes, panel discussions, presentations, debates and networking/pitching formats. Here are just a few highlights:

    Emotional Scheduling: How kids are organizing their own media lives
    Kids today are accustomed to having access to what they want, whenever they want it. But as it turns out, programming schedules still make sense to them, and they organize their media lives around factors like where they are, who they’re with, and what they’ve been doing or are about to do. Dubit’s David Kleeman discusses this new concept of “emotional scheduling,” which is critical to driving discovery and retention for anyone creating media for children.

    From Toys-to-Life to Life on Netflix: A Skylanders Academy case study
    Activision Blizzard’s Skylanders almost single-handedly created the US$4-billion toys-to-life category. And tasked with bringing the bestselling video game franchise to TVs around the globe, content arm Activision Blizzard Studios scored a worldwide deal with Netflix for Skylanders Academy, created by showrunner Eric Rogers (Futurama). In this session, the creative team behind the show will delve into its adaptation process and what we can expect to see next.

    Little Big Kids: Preschoolers ready for life

    Viacom recently undertook a huge global study of preschoolers—an adventure spanning 12 countries, 6,500 families, social media diaries and in-depth ethnographies—to find out what it means to be under six years old today. Christian Kurz, the company’s SVP of Research, Insight and Reporting, will for the first time unveil these latest findings on our youngest generation. And as an added bonus, real preschoolers—equipped with GoPro cameras—will give you a glimpse into their world.

    Surviving, Scaling and Making Money in the Kids Digital Space

    Is there a way to create and deliver fun, engaging and strictly regulated digital content to this generation of kids, but also build market share, profits and long-term brand loyalty at the same time? In this fireside chat, Jeff Imberman, CRO of kids ad platform SuperAwesome—and former SVP of Sales and Marketing at Nickelodeon—will answer this critical question and show how the kids digital ecosystem is something to be embraced, not feared. He’ll also divulge how the under-13 audience is already telling brands and content creators what they want—delivering success is just a matter of really listening to them.

    Set to run from February 13 to 16 next month, Kidscreen Summit 2017 will once again take place at the InterContinental Miami, a contemporary luxury hotel located on prime waterfront in downtown Miami, and just minutes away from South Beach, the Design District, Coconut Grove’s bohemian village, and the many galleries, restaurants and boutique shops in Coral Gables.

    In 2016, the event welcomed nearly 1,800 attendees from more than 50 countries around the world, including more than 450 kids programming buyers and investors looking for new content and partners. Its unique positioning as a conference AND a market lets delegates customize their Summit experience to suit their goals and priorities. Offering an unparalleled conference programme and networking opportunities, the event is the perfect place to learn about the latest trends, issues and opportunities and connect with the industry’s top decision-makers.

    Registration for Kidscreen Summit 2017 is still open. To sign up online or get more information, visit the event website at http://summit.kidscreen.com/2017/.