Kids
Podcasting in the US gaining momentum
MUMBAI: More than six per cent of American adultsor about nine million web users, have downloaded podcasts in the past month, according to The Economics of Podcasting, a report released by Nielsen Analytics.
In a first quarter 2006 study, conducted by Nielsen Analytics at Nielsen Entertainment Television testing facilities in Las Vegas, more than 1700 participants were surveyed on their podcasting usage. About six per cent of respondents described themselves as regular podcast downloaders — more than 75 per cent of whom were male. The findings show that a significant percentage, approximately 38%, of active podcast downloaders say they are listening to radio less often.
Nielsen Analytics GM, senior VP Larry Gerbrandt says, “The incredible popularity of podcasting is the latest demonstration of consumers‘ willingness to take control of their media experiences. While essentially still in nascent form, podcasts offer free audio and video content that is inexpensive to create, easy to access and on a portable platform that has already reached mass distribution. This exciting new medium has only just begun to stretch its legs.”
The Economics of Podcasting is the latest in a series of reports from Nielsen Analytics on the “uber-media consumers” who lead the media industry in terms of trends and technology.
Key findings include
* The most successful podcasts are garnering as many as two million downloads a month, enabling them to attract mainstream advertising. An example — Dixie Paper Company now sponsors the Mommycast Podcast Series starring Gretchen Vogelzang and Paige Heninger.
* Overall, 60 per cent of respondents surveyed said they ‘always‘ fast forward past commercials in their podcasts. Women were more likely to fast forward than men, with 67% saying they always fast forward.
* Given the ability to skip commercials, advertisers are already devising more effective means to reach consumers, such as embedding their messages within the program content or having podcast hosts endorse their products and services.
* The survey found that the average length of the podcasts being listened to was 44 minutes. This may change with the growing popularity of video podcasts, which generally tend to be shorter.
* 72 per cent of respondents who regularly download podcasts say that they download an average of one to three podcasts per week. About 10 per cent of all podcast downloaders could be characterized as “heavy users”, downloading eight or more podcasts a week.
The Business of Podcasting
Among key findings of The Economics of Podcasting are that podcasts differ from other forms of online media delivery, such as conventional streaming and downloading. Like their largely text-based counterparts —
blogs — podcasts are being adapted by a broad range of businesses and organizations.
Among the various users:
* Cable and broadcast networks are converting episodes of some of their linear programs into cost-effective, short audio and video podcasts to serve as previews and promotions.
* Movie studios are exploring the potential of podcasting to market films and DVDs, such as a recent podcast promoting Paramount‘s Nacho Libre that features its star, Jack Black.
* Financial service firms, such as McDonald Investments and The Motley Fool, offer free podcasts on a variety of finance-related subjects.
* The online travel agency, Orbitz, offers audio descriptions of travel destinations as a marketing tool.
* With laptops and portable media players as ubiquitous on college campuses as textbooks, professors are making their lectures and class
notes available as podcasts.
Measuring Podcast Usage
The findings of this study also point to the importance of measuring podcast usage, so advertisers and the media industry will have a
comprehensive picture of who is using this innovative digital multimedia content
Gerbrandt adds, “For podcasting to reach its full potential, we will have to find the best ways to keep track of its audiences. That means developing accurate and comprehensive metrics that will allow podcast producers, distributors and advertisers to answer questions like: ‘Who are we reaching?‘ ‘With what kinds of content?‘ ‘When and how often?‘”
To that end, Nielsen Media Research, as part of its recently announced Anywhere Anytime Media Measurement (A2M2) initiative, is launching several projects that will explore how best to collect and measure podcasting data.
The first project, to be launched this fall, will measure a panel of 400 iPod users by utilizing a software application that can be downloaded onto a PC and interface with iTunes software.
Each time an iPod is connected to a computer to sync with iTunes, Nielsen will record all content accessed, and will provide detailed usage information. Starting in the second half of 2007, Nielsen also will begin testing its “Solo Meters” for portable media devices. The new meters will track audio and video usage on mobile platforms, whether users connect via BlueTooth(R) technology or a wired headset
Kids
Om Nom bites into India as Warner Bros. Discovery picks up the series
MUMBAI: The little green hero is making a big leap east. Zeptolab has struck a major distribution deal with Warner Bros. Discovery, bringing its hit animated series Om Nom Stories to audiences across the Indian subcontinent.
Under the agreement, Warner Bros. Discovery has acquired the series for exclusive Pay TV broadcast and non-exclusive digital streaming in India, Pakistan, Bangladesh, Bhutan, Nepal and Sri Lanka. The move marks a significant expansion for Zeptolab as it pushes one of its most successful original IPs into one of the world’s fastest-growing entertainment markets.
As part of the deal, all 26 seasons of Om Nom Stories will be rolled out across Cartoon Network, Pogo, Discovery Kids and Discovery+, offering both linear and digital access to the franchise’s slapstick humour and expressive, dialogue-free storytelling.
“We’re incredibly excited to partner with Warner Bros. Discovery to bring Om Nom Stories to the Indian subcontinent,” said Zeptolab executive producer Manaf Hassan, noting that the broadcaster’s reach and legacy make it a strong fit for the series’ growing global fanbase.
Warner Bros. Discovery, meanwhile, sees the acquisition as a natural addition to its children’s portfolio. Warner Bros. Discovery head of factual entertainment, lifestyle and kids for South Asia Sai Abishek, said the series aligns with the network’s focus on cheerful, imaginative and universally appealing content for families across the region.
The timing adds an extra layer of significance. The expansion coincides with Om Nom’s 15th anniversary, underlining the franchise’s staying power and its evolution from a mobile game character into a global animation brand. With this latest bite at the Indian subcontinent, Om Nom’s adventures look set to find a whole new generation of fans.
Kids
Colour outside the lines Chhota Bheem sketches a new play with Faber Castell
MUMBAI: If childhood memories had a colour palette, Chhota Bheem would likely be right in the middle of it and now, quite literally, in children’s pencil boxes too. Green Gold Animation has announced a landmark licensing partnership with Faber-Castell India, marking the global stationery major’s first-ever licensed character collaboration. The association brings Chhota Bheem to a specially curated range of student art and creative products, blending everyday learning tools with one of India’s most recognisable homegrown characters.
The move is a notable expansion of Chhota Bheem’s footprint beyond screens, reinforcing the character’s status as a multi-generational IP that has steadily grown from a television favourite into a cultural constant. For Green Gold Animation, the partnership signals a sharpened focus on extending its intellectual property into daily touchpoints, where entertainment meets education and habit.
In its first phase, the collaboration will roll out Chhota Bheem-themed products across key student art categories, including watercolour cakes, wax crayons, poster colours, sketch pens, oil pastels and creative bundling kits. The range is aimed squarely at school-going children, tapping into Bheem’s strong emotional connect while encouraging imagination, creativity and hands-on expression.
Green Gold Animation founder and CEO Rajiv Chilaka noted that Chhota Bheem’s journey has long moved beyond episodic storytelling. He said the partnership reflects a deliberate attempt to embed the character into moments of learning and creativity, while building a more purpose-led licensing ecosystem around Indian IP through collaboration with a globally established brand.
From Faber-Castell India’s perspective, the tie-up marks a strategic first. Faber-Castell India director marketing Sonali Shah said the collaboration opens a new chapter by pairing the brand’s long-standing reputation for quality and safety with a character that already commands trust and affection among Indian children. The aim, she added, is to make creativity more engaging and relatable without diluting product standards.
The launch will be backed by a 360-degree promotional push, spanning digital campaigns, social media storytelling, creative usage content and on-ground retail activations across select markets. Both companies have confirmed that this is only the starting point, with additional Chhota Bheem-themed products across new categories planned in the months ahead.
Headquartered in Hyderabad, Green Gold Animation continues to scale its ambition of building globally competitive Indian IPs, with Chhota Bheem leading the charge. This latest collaboration suggests that the brand’s next phase of growth may be less about what children watch and more about what they create.
Kids
Sony tightens grip on Peanuts with $457 million stake buy
JAPAN: Sony has doubled down on the power of legacy brands, snapping up a majority stake in the Peanuts intellectual property in a late-year deal valued at about $457 million.
Sony Pictures Entertainment and Sony Music Entertainment Japan have acquired the roughly 41 per cent holding in Peanuts Holdings LLC previously owned by Canadian children’s entertainment company WildBrain. The move lifts Sony’s ownership to 80 per cent, with the Schulz family retaining the remaining 20 per cent.
The deal brings one of pop culture’s most durable franchises, home to Charlie Brown, Snoopy and the rest of the Peanuts gang, firmly under the Sony umbrella. The characters were created by Charles M Schulz, whose daily comic strip ran for half a century before ending in 2000.
Sony had already been a long-time partner in the business. The latest transaction consolidates control and sharpens the group’s hand as it looks to keep the characters front and centre across film, television, music and consumer products.
President and group ceo of Sony Music Entertainment Japan, Shunsuke Muramatsu, said the additional stake would allow Sony to further elevate the Peanuts brand by drawing on the group’s global reach and creative expertise, while preserving the legacy of Schulz and his family.
President and ceo of Sony Pictures, Ravi Ahuja, said the combined ownership gives Sony the ability to protect and shape the future of the characters for new generations, expanding their relevance without diluting their charm.
Peanuts long ago escaped the confines of the comic strip, cementing its place in popular culture through perennial television specials such as A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown. More recently, WildBrain kept the franchise active with animated series including Snoopy in Space and The Snoopy Show.
Now, with Sony firmly in control, the message is unmistakable. In an industry obsessed with the next big thing, nostalgia still sells and Sony is betting big on a doghouse that refuses to age.
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